Sharjah International Book Fair 2019

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SHARJAH INTERNATIONAL BOOK FAIR 2019

Peter Harrington london VAT no. gb 701 5578 50 Peter Harrington Limited. Registered office: WSM Services Limited, Connect House, 133–137 Alexandra Road, Wimbledon, London sw19 7jy. Registered in England and Wales No: 3609982 Peter Harrington 1969 london 2019

SHARJAH INTERNATIONAL BOOK FAIR 2019

70 FINE BOOKS ON EXHIBITION

30 October – 9 November 2019

Opening hours 09.00–22.00 Sunday to Thursday 16.00–23.00 Friday

Expo Center Sharjah Al Khan Area, Al Taawun Street, Opp Al Arab Mall Sharjah, UAE

mayfair chelsea Peter Harrington Peter Harrington 43 Dover Street 100 Fulham Road London w1s 4ff London sw3 6hs uk 020 3763 3220 uk 020 7591 0220 eu 00 44 20 3763 3220 eu 00 44 20 7591 0220 usa 011 44 20 3763 3220 www.peterharrington.co.uk usa 011 44 20 7591 0220 One of the first technological books of modern times 1 AGRICOLA, Georgius. De re metallica. Basel: Hieronymus Froben and Nicolaus Bischoff, March 1556 Folio (317 x 219 mm) in sixes, complete with blank leaf [α]6. Seventeenth-cen- first edition. “The first systematic treatise on mining and met- tury calf, skilfully rebacked with original spine laid down, relined, spine gilt allurgy and one of the first technological books of modern times” in compartments, red morocco label, double gilt rules. Housed in a dark (PMM). The book is extensively illustrated with a fine series of brown flat-back cloth box by the Chelsea Bindery. Woodcut title device, re- almost 300 woodcuts, some signed with the monogram “RMD”, peated on Bb6v, 2 woodcut plates (edges folded in), woodcut illustrations generally attributed to Hans Rudolf Manuel Deutsch (fl. 1525–1572) and diagrams in the text, white-on-black initials. Roman, Greek, and gothic or, less commonly, Blasius Weffring. Preparation of the woodcuts types. Binding rubbed and with light scoring, early manuscript notes at head delayed publication until four months after the author’s death. of title; an excellent copy, clean and well-margined, of an important book Mining as an industry underwent dramatic changes in medi- not uncommonly found in poor state. eval Europe, with the centre of technological development being central Europe. From his base in Saxony, the prodigiously scholarly Georgius Agricola (the Latinized name of Georg Pawer) was ideal- ly placed to discuss the technologies used, the chemistry behind the processes of mineral extraction, and—reflecting his role as town physician at Joachimsthal, a centre of mining and smelting works—the health and daily routine of mine workers. One of the prime issues confronting medieval miners (and one which Agricola explains in detail) was the removal of water from mining shafts. Written over a 20-year period between 1530 and 1550, the 12 books have an earlier treatise on subterranean zoology, De animantibus subterraneis (first published Basel: 1549), appended, and “embrace everything connected with the mining industry and metallurgical processes, including administration, prospecting, the duties of of- ficials and companies, and the manufacture of glass, sulphur and alum” (PMM). The final book deals with the production and refin- ing of crude oil and bitumen. Adams A–349; Brunet I, 113; Dibner Heralds 88; Duveen pp.4–5; Grolier Science 2b; Hoover 17; Norman 20; Printing and the Mind of Man 79. £45,000 [80925]

2 Peter Harrington One of the finest books of the Press, with woodcuts of called Hooper almost the last of the old school of wood-engravers King Arthur and the knights of the Round Table and a very fine craftsman. As for the Morte d’Arthur, “It is the only true English ‘epic’; its 2 matter is ‘the Matter of England’. The matchless style, the humour, the magnificence, the magic that takes away the breath, combine in (ASHENDENE PRESS.) MALORY, Sir Thomas. The a masterpiece of legendary narrative” (PMM). noble and joyous book entytled Le Morte Darthur. Ashendene XXVI; Franklin, p. 224. For Malory, see Printing and the Mind of Man 29. Chelsea: Ashendene Press, 1913 £10,000 [121307] Folio. Bound for the publisher by W. H. Smith in brown calf, spine lettered in gilt, boards and turn-ins ruled in gilt. With 2 full page and 27 smaller woodcuts by W. H. Hooper and J. B. Swain after designs by Charles M. Gere and his sister Margaret Gere. Initial letters by Graily Hewitt in red and blue; rubricated chapter headings and shoulder-notes. Ownership stamp to front free endpaper with a little offsetting to facing pastedown. A little rubbing to joints and extremities, a few small darkened areas to front board. An excellent, crisp copy. first ashendene edition, one of 145 unnumbered copies printed on Batchelor handmade paper (a further 2 copies were printed on Japanese paper and 8 on vellum). The Ashendene Press is counted among the best presses of the arts and crafts movement in Eng- land. Founded in 1894 as an amateur’s hobby by the businessman Charles Harry St John Hornby, the press published for sale only 40 titles between 1895 and 1935, yet achieved a reputation for excel- lence with publications that balanced typography and illustration. The Ashendene books fall somewhere between the decorative exuberance of the Kelmscott and the typographic austerity of the Doves presses. The wood engraver William Harcourt Hooper, who had done much work for William Morris at the Kelmscott Press, worked for them from about 1896, notably on the Mazetto Scelto dei Fioretti of St Francis, Dante, and the Morte d’Arthur. St John Hornby

All items are fully described and photographed at peterharrington.co.uk 3 The Prince of Wales’s copy of the third great folio of preface acknowledges that several are written by Fletcher with Phil- Jacobean drama ip Massinger, rather than Beaumont. Editorship is usually assigned to the playwright James Shirley, who wrote the preface. Fletcher’s 3 work has also been extensively studied in the context of his collab- oration with Shakespeare on three plays in 1612–13 for the King’s BEAUMONT, Francis, & John Fletcher. Comedies and Company. His solo play, The Woman’s Prize, first published here, is a Tragedies. London: for Humphrey Robinson, and for Humphrey mock-sequel to Shakespeare’s The Taming of the Shrew and depends Moseley, 1647 on knowledge of it. The printing of the folio was farmed out to Folio (343 x 220 mm). Contemporary dark brown morocco for Charles II as several printers, including Susan Islip, a rare example of a female Prince of Wales, gilt-ruled borders and frame with gilt-stamped floral cor- printer in the 17th century. nerpieces, spine with gilt-stamped daisy in each compartment, gilt-stamped The gilt arms on the covers declare this to be the Prince of supralibros (three ostrich feathers emerging from a coronet with motto “Ich Wales’s copy, that is, the future Charles II. Humphrey Moseley was dien”), marbled endpapers. Engraved frontispiece portrait of John Fletcher a decidedly Royalist publisher and the 43 pages of commendatory by William Marshall in second state (reading “Vates Duplex” for “vates duplex”, and with “J. Berkenhead” in small type), woodcut head- and tailpiec- material in this volume have been described as containing “a liter- es, decorative initials. Bookplate of Robert S. Pirie. Head and foot of spine ary manifesto of Cavalier writers” (Wright, 82). From their point of renewed, title and frontispiece soiled, extreme edges of margins very lightly view, the book was published during the darkest days of the Eng- browned, a handsome volume. lish Civil War, with Charles I a prisoner under house arrest—Gran- first edition, modelled on the first two folio collections of dison’s poetical address “To the Stationer” opens: “Tell the sad Shakespeare’s plays (1623 and 1632) and the first two folios of the World that now the lab’ring Presse / Has brought forth safe a Child works of Ben Jonson (1616 and 1640–1). These folios are often cred- of Happiness”. ited with establishing a recognisably modern concept of the indi- Greg III, 1013; Pforzheimer 53; Wing B1581. vidual author, but the Beaumont and Fletcher folio is more com- £27,500 [108348] plicated in that regard. It contains 39 plays, of which very few are actually collaborations between Beaumont and Fletcher. Even the

4 Peter Harrington The most ambitious edition of the Bible produced in promising a bible that would be “finished in a style of elegance (and Britain magnificence in Paper, Printing, and Engraving) of which there is not in Europe or the world any example”. It took Macklin 11 years 4 to complete, and the eventual cost of £30,000 almost bankrupted him. Though the final engraving was finished five days before his (BIBLE; English.) MACKLIN, Thomas. The Old [and death, the last of the vignettes was not completed for another six New] Testament. Embellished with Engravings from weeks, and consequently he never saw the finished work. Pictures and Designs by the Most Eminent English ESTC T123175; Herbert 1441; Lowndes vol. I, p. 192. Artists. London: Printed for Thomas Macklin by Thomas £6,750 [131215] Bensley, 1800 7 volumes, large folio (458 mm x 370 mm). Contemporary russia, rebacked to style in morocco, spines lettered and tooled in gilt, gilt ruled and foliate border to covers, marbled endpapers, gilt edges. With 71 full-page copper engravings after Fuseli and others, most with tissue-guards (some recent, some absent), engraved vignette head- and tailpieces, engraved dedicatory page. Half-titles present. Some light rubbing to covers with minor wear around extremities, small insect hole to rear joint and rear turn-in of vol. IV, a very few instances of foxing and minor blemishes, but generally clean. A very good set. first edition of the Macklin Bible, “the most ambitious edition produced in Britain, often pirated but never rivalled” (ODNB). This vast undertaking, dedicated to the king, was published in 70 parts, priced at one guinea each. Macklin (1752–1800) issued his prospectus for the bible in 1789; he commissioned new type, new paper, and all the engravings (initially offering 60, which rose to 71),

All items are fully described and photographed at peterharrington.co.uk 5 The Dutch edition of the greatest atlas ever published, the German edition being the first to appear in 1634, and the Latin, epitome of the so-called golden age of Dutch cartography Dutch, and French appearing in 1635. The first part of its Latin title, Theatrum Orbis Terrarum, deliberately echoed the previous efforts of 5 Abraham Ortelius, while the following part of the title, Atlas Novus, emphasised its novelty. Willem planned another two additional BLAEU, Willem & Jan. Grooten Atlas (Atlas Major). volumes, completed only after his death, in 1640 and 1645. Willem’s Amsterdam: Johannes Blaeu, 1664 son, Jan, progressively expanded the Atlas Novus to six volumes by 9 volumes, folio (510 x 335mm). Original publisher’s vellum, smooth spines 1655, and this formed the first half of the Atlas Major. The Dutch divided by nine gilt foliate rolls, central rose motifs, fleur-de-lis ornamenta- edition, entitled Toonneel des Aerdrycks (Theatre of the World), is the tion to corners of compartments, sides panelled in gilt with central device of most complicated in make-up, with the text being reset at least four Atlas holding a celestial globe within an ornate foliate cartouche, green silk times. Since it was the basis for the Grooten Atlas (Atlas Major) this ties (some loose, a few missing). 599 (of 600) engraved maps coloured by a contemporary hand and heightened with gold throughout. Full condition has led to quite a different composition from the other language report available on our website or on request. editions. For instance, while the Latin editions carry a uniform date, the present lot varies considerably, with volumes I–III and A particularly handsome set of “the greatest and finest atlas ever IX dated 1664, volume VII is undated, while volumes IV–VI reuse published” (Koeman). The Atlas Major as initially published in its Toonneel titles and are dated 1648, 1654, and 1650 respectively. The various editions was the largest atlas ever published, the epitome present set seems to be one of the early variants identified by Van of decades of achievement by the Blaeu family and published in five der Krogt, updating early editions of volumes IV, VII, and IX from languages (Latin, Dutch, French, German and Spanish). It was just- the Toonneel (see Van der Krogt II, p.383). ly famed for its production values, its high typographic standard, and the quality of its engraving, ornamentation, binding and col- Cornelis Koeman, Joan Blaeu and his Grand Atlas, George Philip (1970). ouring. The atlas frequently served as the official gift of the Dutch £750,000 [135958] Republic to princes and other authorities. It is one of the most lav- ish and highly prized of all 17th-century illustrated books, the maps embellished in the baroque style, many ranking among the most beautiful ever made. This copy is the Dutch edition, arranged quite differently from the Latin or French editions. It has its origins in Willem Blaeu’s two-volume atlas, which was published in four languages, with the

6 Peter Harrington All items are fully described and photographed at peterharrington.co.uk 7 A book surpassing all preceding Western accounts of the holy cities 6 BURTON, Richard F. Personal Narrative of a Pilgrimage to El-Medinah and Meccah. London: Longman, Brown, Green, and Longmans, 1855–6 3 volumes, octavo. Original dark blue cloth, title gilt to spines, spine decora- tion and panelling to the boards in black, terracotta surface-paper endpapers with advertisements to pastedowns. 15 plates of which 5 chromolithographs (including the famous portrait of Burton as “The Pilgrim” mounted as frontispiece to vol. 2), 8 single-tint lithographs, engraved plate of “Bedouin and Wahhabi Heads”, 4 maps and plans (3 folding). Rubbed overall, spines darkened and rolled, headcaps and joints expertly restored, a few small marks to sides, light wear to bumped tips, and occasionally to board-edges, scattered mild spotting, pale foxing to a few plates, generally restricted to the margins only, pale tide-mark to upper outer corner of vol. II frontispiece, vol. II sigs. Z7–8 roughly opened along fore edge, the text unaffected, vol. III sigs. H4–5 loose at foot, held by upper cords. A very good copy. first edition. Fewer than half a dozen Europeans had made the hajj, or pilgrimage to the Islamic holy cities of Mecca and Medina, forbidden to non-Muslims, and lived. Of those only the Swiss ex- plorer J. L. Burckhardt had left a detailed account. Burton made the pilgrimage in complete disguise as a Muslim native of the Middle East, an exploit of linguistic and cultural virtuosity which carried considerable risk. During the several days that Burton spent in 1861. Birdwood (1837–1909) arrived in Bombay in 1859 after com- Mecca, he performed the associated rites of the pilgrimage such pleting his education in England. One of his early postings was as as circumambulating the Kaaba, drinking the Zemzem water and an assistant collector in Ahmedabad. Between 1892 and 1897 he was stoning the devil at Mount Arafat. His resulting book surpassed all judicial and political member of the executive council of the gover- preceding Western accounts of the holy cities, made him famous nor of Bombay, during which time he served briefly as acting gover- and became a classic of travel literature, described by T. E. Law- nor of the presidency in the brief interval between the departure of rence as “a most remarkable work of the highest value”. Lord Harris and arrival of Lord Sandhurst. With the contemporary ownership inscription (front free end- Abbey Travel 368; Gay 3634; Howgego IV B95; Ibrahim-Hilmy I p. 111; Penzer, pp. paper vol. 1) of noted Anglo-Indian judge and educationalist Her- 49–50. bert M. Birdwood, dated Bombay 1859, with his later inscription £8,750 [119481] presenting the book to Edward J. Webb, Ahmedabad, 31 October

8 Peter Harrington Rare presentation copy of the first edition, inscribed to one Ella Chlora Faithfull Bickersteth (1859–1954) was the only of his child-friends and photographic subjects, with three daughter of Sir Monier Monier-Williams, second Boden Professor of Sanskrit at the University of Oxford, where Dodgson, who wrote autograph letters under the pen-name Lewis Carroll, taught mathematics. Dodg- 7 son took several photographs of Ella between May and July 1866, a few months after Alice’s Adventures was first published. Dodgson CARROLL, Lewis. Alice’s Adventures in Wonderland. refers to the photographs in the first of the three letters contained London: Macmillan and Co., 1866 in this copy. On 31 January 1879, he writes to Ella’s mother, Julia Octavo (178 x 117 mm). Recent red morocco by Bayntun-Riviere of Bath, title Monier-Williams, to congratulate her on the news of her daughter’s to spine gilt, edges gilt, marbled endpapers, with, mounted on three blanks: engagement to the Revd Dr Canon Samuel Bickersteth, and suggest autograph letter, pp. 3, bifolium, signed from the author to Mrs Julia Moni- that one of his photographs might be gifted to Ella’s fiancé. The er-Williams, dated 31 January 1879; facsimile circular letter, one page, signed other letters are from the following year, directly from Dodgson to in autograph from the author to Ella Monier-Williams, Oxford, dated 25 Feb- Ella (still as Miss Williams; she married in 1881). The first, dated 25 ruary 1880; autograph letter, pp. 3, bifolium, signed from the author to Ella February 1880, is a facsimile circular letter, opening and closing in Monier-Williams, Oxford, dated 29 April 1880, envelope laid onto following leaf. Housed in a custom red cloth slipcase. Frontispiece with tissue-guard autograph (“My dear Ella … yours electrically and affectionately C. and 41 illustrations by John Tenniel. A little scattered foxing and soiling, L. Dodgson”), soliciting word puzzles. The second, dated 29 April, small ink stains to seventh blank and half-title, tiny repair to tip of frontis- is a fully autograph letter teasing her for signing her reply “very af- piece and p. 19 (partly affecting text). A very good copy, attractively bound. fectionately” and inviting her to tea. Dodgson’s friendship with Ella first published edition, rare presentation copy, in- was unusual among his child-friends for its continuation into her scribed by the author to one of his child-friends on the adult life. half-title, “Ella Chlora Williams from the author”, together with Williams-Madan-Green-Crutch 46. Ella Bickersteth, “Some reminiscences from three letters from the author mounted on binder’s blanks. After the the pen of Mrs Samuel Bickersteth (Miss Ella Monier Williams)” in Collingwood (ed.) The Lewis Carroll Picture Book, 1899. For a full discussion of Dodgson’s suppression of the 1865 Alice, Dodgson received copies of the cor- photographs of Ella Monier-Williams, see Jeremy Coote & Christopher Morton, rected edition for presentation in November 1865. In his diary he “‘Dressed as a New Zealander’, or an ethnographic mischmasch? Notes and recorded 76 names of those who received presentation copies, Ella reflections on two photographs by Charles Dodgson (Lewis Carroll)”, Journal of Williams being 23rd on the list. Only a handful of these presenta- Museum Ethnography, no. 28, March 2015, pp. 150–172. tion copies have appeared in commerce. £75,000 [127698]

All items are fully described and photographed at peterharrington.co.uk 9 An Englishman travels through the Middle East The first complete collected edition of Chaucer, and of any 8 English author CARTWRIGHT, John. The Preachers Travels. London: 9 printed [by William Stansby] for Thomas Thorppe, and are to bee CHAUCER, Geoffrey. The workes, newlie printed, with [sic] sold by Walter Burre, 1611 dyvers workes whiche were never in print before: as in Small quarto (174 x 130 mm). Later polished tree calf, red morocco labels, the table more playnly dothe appere. London: by Thomas raised bands, placed and dated in gilt at foot, marbled endpapers, gilt edg- Godfray, 1532 es. Housed in a dark brown flat-back cloth box by the Chelsea Bindery. Ti- tle within typographical border, woodcut floriated initials and headpieces. Folio (312 x 213 mm). Contemporary blind-tooled calf lifted from the original Without blank leaf A4. Early 20th-century bookseller’s ticket of Myers & Co., binding and relaid on heavy boards and rebacked to style (a pencilled note dates recent collector’s bookplate of Howard Knohl. Front joint neatly repaired, the restoration 1946), the sides panelled with a stylised wheat-sheaf roll and a small pale stain to title page, some unobtrusive marginalia, occasionally decorative roll incorporating heads, the fore edges showing the marks where trimmed a little close, just shaving signature of K3, but the margins general- clasps and catches were formerly attached. Housed in a dark brown cloth flat- ly good, overall a very good copy. back box. 394 (of 397) leaves (lacking A1–3, supplied in good quality facsimile). Continental batard type, text in double columns. 20 woodcut illustrations from first edition. Cartwright probably left England in April 1600, 15 blocks, section-titles within woodcut compartments (McKerrow & Ferguson and travelled to Aleppo via Sicily, Zante (Xakinthos) and Crete. At 19) for “The Romaunt of the Rose,” “Troylus and Creseyde,” “Boetius de conso- Aleppo he was welcomed by the consul, Richard Colthurst, and latione philosophie,” “How Pite is Ded and Beried in a Gentyll Hert,” and “The met John Mildenhall, then in the employ of Richard Staper, a mem- Testament of Love,” all with continuous foliation and signatures, QQ3 cancelled ber of the newly formed English East India Company. The two Eng- as usual and replaced by four leaves incorporating Robert Henryson’s Testament lishmen travelled together, members of a caravan of some 1,000 of Criseyde. Early ownership inscriptions of John Rappe in French, one in The Ro- people. After separating from Mildenhall, Cartwright proceeded to maunt of the Rose (foot of sig. 2E3v) dated 8 June 1583; early ownership inscriptions Esfahan and continued to travel widely in the Middle East. The text also includes a brief account of the experiences of Anthony Sherley, whose own account of Persia was not published until 1613. Cart- wright appears to be the first Englishman to have visited all four key sites of antiquity: Babylon, Nineveh, Persepolis, and Susa. Bell C95; Howgego I, C58; Macro, Bibliography of the Arabian Peninsula, 686. £22,500 [128759]

10 Peter Harrington of Ro: Tirell (=Tyrell) at head of The Canterbury Tales part-title and again at head have been printed, in part, from manuscripts no longer available. of The Knight’s Tale, and of Thomas Lanham at foot of Troylus and Creseyde part-ti- All arguments concerning the Chaucer canon, up to and including tle; some early underlines and contemporary marginalia throughout; front free those by Skeat, take as their foundation Thynne’s inclusion of them endpaper with pencilled note (in the hand of Lord Kenyon?) stating that the in this edition, the first avowedly designed to be complete. Later book was bought in 1891 at Christie’s at the library sale of Captain Walter Tyrell, i.e. Walter Robert Tyrell (1811–1891) of Suffolk; modern bookplate of Robert S. editions add minor works, but always at the end, and none of those Pirie. A few minor marks or stains, small paper extension at upper outer corner included here are omitted until the 19th century. The book is attrac- of A4 and lower outer corner of 3G5 and 3M6, not affecting text; short marginal tively printed in a continental batard, harking back to Pynson’s type tears neatly closed not affecting text to some 19 leaves (B1, G5, I2, I3, L1, N5, N6, 2, rather than in the self-consciously medieval blackletter (textura) K2, U6, 2R4, 2S1, 2S5,6, 3B2,3, 3E4, 3K4, 3Q1, 3T5); paper restoration in lower of later Chaucer editions. Chaucer was never again printed in any margin of “2Q3”.1; paper repairs into text to N1, 2S6 (with small loss of text) and type resembling this, but the monumental format of a double-col- 3B4; last leaf 3V6 with paper restoration at upper outer corner with loss of end of umn large folio gathered in sixes remained the model for later ca- folio number and one letter of colophon; these repairs mostly unobtrusive and affecting text in a couple of places only, the paper strong and generally clean, nonical vernacular authors, notably Shakespeare and Jonson. The with good margins all round, overall a very good copy. publisher Thomas Godfray was associated with some of the more radical propagandists of the Tudor revolution and this edition be- first complete collected edition of Chaucer and the first gan a gradual process in the 16th century by which Chaucer was attempt to collect into a single volume the complete writings of an both established as the father of English poetry and claimed for the English author. The editor was William Thynne, clerk of the kitch- nation as a proto-Reformer, so that John Foxe the martyrologist en and of the green cloth to Henry VIII, and recipient of numer- would later acclaim him as “a right Wycliffian”. ous grants and appointments. Thynne provides the first printed This is much the most complete copy to have appeared in com- editions of a number of Chaucer’s major works in verse and prose, merce in the past 45 years. The only other substantially complete including The Book of the Duchess, The Legend of Good Women, Boece, and copy in that period was the William Morris–Richard Bennett–Mi- The Treatise on the Astrolabe. He also includes a large number of works chael Tompkinson–Albert May Todd copy, lacking six leaves (A1, not by Chaucer, including poems by John Lydgate, Thomas Hoc- A4, Uuu1, Uuu2, Uuu5 & Uuu6) and the lower outer portion of Ttt4, cleve, Richard Roos, and Robert Henryson, giving the volume an sold at Sotheby’s, 10 July 2003, lot 76. Though Morris used Skeat’s additional value as a poetical miscellany. The introductory materi- Victorian edition as his copy text, his own copy of the 1532 Thynne als to the edition are prefaced by an unsigned dedication to Henry folio surely supplied inspiration for the Kelmscott Chaucer. VIII by Sir Brian Tuke, the king’s secretary, arguing for the poet’s Grolier/Langland to Wither 28; Hayward 2; Pforzheimer 173; STC 5068. Joseph pivotal role in the development of the English language. A. Dane, Who is Buried in Chaucer’s Tomb? Studies in the Reception of Chaucer’s Book, As Joseph A. Dane points out, this is a landmark edition in Michigan State UP, 1998. many ways. It is the last edition that modern editors suspect may £150,000 [108308]

All items are fully described and photographed at peterharrington.co.uk 11 The theatrical archive of the director of The Mousetrap, other was a flop”. Gregg described his experiences in Agatha Christie including seven autograph letters from Christie and All That Mousetrap (Kimber 1980). The archive and correspondence, spanning nearly 20 years, in- 10 cludes three Agatha Christie plays in typescript, each one the director’s working copy with extensive revisions to the text, notes on CHRISTIE, Agatha. Hubert Gregg’s archive of staging and lighting, often with related notes, manuscript revisions typescripts, autograph manuscripts, and letters relating and correspondence between Gregg, Agatha Christie, and the pro- to the plays of Agatha Christie. 1953–72 ducer Peter Saunders; Gregg’s own copy of The Mousetrap, inscribed Together 15 items, 1 printed book, 3 complete typescripts, 7 autograph letters and presented to him by Agatha Christie on the occasion of “our signed from Christie to Gregg (most with original envelopes), menu signed sixth birthday”; and Agatha Christie’s holograph manuscript for by Christie and 21 cast members of The Mousetrap, a Christmas card sent from the ending of “The Patient”, the last play in Rule of Three. Christie to Gregg, an original playbill for The Hollow, and programme for Rule of Three. Slight rubbing to extremities, joint of The Hollow cracked but hold- £16,000 [110880] ing; a remarkably well-preserved archive. Full details on request. A superb collection of material, illuminating Christie’s relation- ship with her director and producer over the course of five plays and two decades. The typescripts in particular document the process from casting to opening night in great detail, the contributions and opinions of the director and producer recorded at each point, but with little doubt as to who had the final say. Hubert Gregg (1914–2004) was one of the most steadily successful theatrical all-rounders of his generation; a broadcaster and light comedian, a Shakespearean actor, a director of comedies and thrillers, and a composer of hundreds of songs—including “Maybe it’s because I’m a Londoner” and “I’m going to get lit up when the lights go up in London”. He was director of five Agatha Christie plays, includingThe Mousetrap for seven years of its record-breaking run, from 1953 (it was first staged on 6 October 1952, directed by Peter Cotes). In his own words “three were smash hits, one had a modest run and the

12 Peter Harrington A famous account of travel, largely on foot, from London bled endpapers, gilt edges. Housed in a matching quarter morocco solander box by the Chelsea Bindery. Engraved title-page (inlaid at time of rebinding), to Venice and back, with commendatory verses from the 4 engraved plates (2 folding), engraved illustrations within text, woodcut in- wittiest poets of the day itials and headpieces. With the bookplate of Albert Ehrman, the Broxbourne Library. Front joint tender, inner hinge restored, some soiling on letterpress 11 title and preliminaries, mended tear in leaf R8 entering but not obscuring text, small rust hole in lower margin of leaf Ee8, quires R through T slightly CORYATE, Thomas. Coryates Crudities. London: shaken, a very good copy. W[illiam] S[tansby, for the author,] 1611 first edition. Thomas Coryate (1577?–1617), who had been an Quarto (216 x 152 mm). Late 19th-century pinkish brown morocco by F. unofficial court jester in the household of Henry, prince of Wales, Bedford (signed on front free endpaper verso), sides panelled in gilt with a made a tour, often on foot, from London to Venice and back again, French fillet with a fleuron at corners, spine richly gilt in compartments be- finally hanging up his shoes in Odcombe church. His narrative has tween raised bands, gilt-lettered direct, gilt decorative rolls to turn-ins, mar- many points of historical interest. His description of how Italians shielded themselves from the sun resulted in what is thought to be the first mention of “umbrella” in English literature. He acquired a table fork, almost unknown in England, and imitated the Italian fashion of eating. While in Switzerland he heard the story of Wil- liam Tell, and his admirable rendering is cited as the earliest in Eng- lish. The book is also celebrated for its selection of mock-panegyric verses by the most illustrious authors of the day, including Jonson, Chapman, Donne, Campion, Harington, Drayton, and others. Grolier, Langland to Wither 49; Keynes, Donne, 70; Pforzheimer 218; STC 5808. £20,000 [72181]

All items are fully described and photographed at peterharrington.co.uk 13 A valuable collection of tracts relating to the commerce, ural history of India, Burma, Cochinchina, and China, consisting history, manners, and natural history of India, the East mostly of reports, charts and translation produced by agents of the East India Company, including Dalrymple himself, nearly all previ- Indies, and China ously unpublished. 12 Dalrymple (1737–1808) first travelled east as a writer to the East India Company. In 1795 he was appointed hydrographer to the Ad- DALRYMPLE, [Alexander.] Oriental Repertory. London: miralty, tasked with consolidating their collection of charts and printed by George Bigg: sold by P. Elmsly, and Mr. Chapman, plans. Despite the founding of the Asiatick Miscellany by Francis 1791–[7] Gladwin in 1785, and the publication of Asiatick Researches by the 2 volumes, folio (315 x 233 mm), in 8 parts. Recent mottled calf to style, Asiatic Society of Bengal, Dalrymple was justifiably confident that smooth spines richly gilt in compartments, twin red and green morocco there was still a gap in the market. For the first number botanist labels, decorative rolled borders gilt to covers, marbled endpapers. 22 en- William Roxburgh offered papers on the cultivation of pepper in graved maps and plans, 13 of them folding, 7 engraved plates, 3 of them fold- Travancore and a description of the indigo tree; James Rennell sub- ing, 3 double-sided folding letterpress tables. Blind stamp of the James B. mitted a map of the Ava River; and Charles Wilkins permitted the Ford Library, Explorers’ Club, to title pages, vol. I sig. 6G2 and vol. II sig. first publication of a portion of his translation of the Mahabharata 4H2. Lacking section titles, vol. 2 general title and index leaves as usual to appear in the second volume. Other important material, much (possibly never issued, see below); title leaf of the Plan of Publication (the of which Dalrymple appears to have obtained through his own re- one-leaf prospectus found after the volume 1 title) bound to front of volume 2 as often: “Introduction to the first number of the Oriental Repertory Vol. searches, include Captain George Baker’s account of his embassy to II” bound after “Introduction to the third number … “. Vol. 1: small hole to Persaim (now Pathein, Myanmar) in 1755, “Ensign Lester’s Embas- lower outer corner of vol. 1 sig. 3N, the text unaffected; p. 375 slightly marked sy to the King of Ava, 1757” and the text of the ensuing treaty, a 1753 in fore margin, sig. 5Y2 very lightly spotted, tape-repair to lower outer cor- report on tea-growing in Canton by Frederick Pigot (probably a rel- ner verso of the second map of Colonel Upton’s Route from Poona to Bengal, ative of George, twice president of the Company), and all manner facing p. 498, just touching border, small hole to fore margin of the Plan of of further reports, either unattributed or by various lesser-known Cannanore facing p. 578, not affecting image. Vol. 2: pp. 61, 449 and 561 HEIC agents, on the Hindu caste system, Tipu Sultan, the Nair lightly marked, a few gatherings slightly browned. Otherwise a few trivial marks only. An excellent copy, internally very crisp and fresh indeed. princes of the Malabar coast, “Some account of Cohin-China, by Mr. Robert Kirsop”, cities such as Jaipur and Agra, imports and ex- first edition, first issue, large paper copy, from the stat- ports to and from Macao, Canton, and Japan, and similar subjects. ed print-run of 250 copies only, of this valuable compilation of re- Copies of this bibliographically complex part-work are recorded searches into the history, culture, topography, commerce, and nat- at the expected institutions in various states of completeness. How-

14 Peter Harrington ever, in commerce we trace only two first-issue copies containing all text and plates (both lacking the vol. II general title as here) and one such copy of the 1808 re-issue. The British Library sets are both made up with volumes from the later issue. Dalrymple explains in his introduction to the first number that 100 of the 250 copies printed were to be held by the East India Company against a contribu- tion of £200. Fifty were for presentation to contributors, and 100 for sale. He adds: “Of the early number I shall print 500 copies, 250 being at my own charge”, should demand exceed 100 copies. His general introduction to the first volume complains that the HEIC only took 64 copies, leaving him short of funds; he appears never to have issued the promised index leaves for the second volume. Offprint from the Linnean Society Journal, 1864. Freeman 1731; d) ”Notes on the fertilisation of orchids”. Offprint from The Annals and Magazine of Natural In his general introduction, he expresses at least the “retrospective History, 1869. Freeman 1748. satisfaction of having … preserved many papers, which would otherwise, probably for ever, have been lost to the world”. first edition, presentation copy from darwin to his eldest son of the rare author’s issue of “Climbing Plants”, inscribed Goldsmiths’-Kress 15633.1. “from the author” on the title page. The printing of the monograph £19,500 [115902] took three forms: a double number of the Journal of the Proceedings of the Linnean Society of London, and two offprints, one for commercial Five of Darwin’s botanical works, one of them a sale, and one (as here) for the author. Darwin had long been in- trigued by the more energetic aspects of plant physiology, and this presentation copy to his eldest son, William Erasmus monograph (subsequently published in a second edition by John Darwin, who made significant contributions to them Murray in 1875) is the result of his study of more than 100 species of climber, which, he was convinced, demonstrated how climbing 13 adaptation aided survival in dense vegetation, showing how plant DARWIN, Charles. “On the movements and habits of movement had been intensified by the process of natural selection. climbing plants”. Offprint from The Journal of the Linnean William Erasmus Darwin (1839–1914) was the first of the nat- Society. [Bound with 4 other similar offprints.] London: uralist’s ten children. From 1861 to 1870 he was his father’s main Taylor and Francis; The Linnean Society, 1862–9 scientific assistant for his outstanding research on plant forms and floral mechanisms for cross-fertilization, and the different meth- Octavo. Together, 5 offprints bound without wrappers in contemporary half ods they have evolved for climbing. This volume contains five of calf. With Southampton binder’s label and authorial inscription “From the author” on the title page of the first work. Armorial bookplate of William E. Darwin’s classic botanical works, to each of which William made Darwin, some light spotting to text, binding slightly rubbed on spine and at significant contributions. In his later life William championed the extremities. Bound with: a) ”On the two forms, or diomorphic condition, in cause of university education for all, and played a leading role in the species of Primula … “. Offprint from The Journal of the Proceedings of the Lin- the initiatives which led to the foundation of a university college in nean Society, 1862. Freeman 1717; b) ”On the Existence of two forms, and on Southampton in 1902. their reciprocal sexual relation, in several species of the genus Linum … “. Freeman 835. Offprint from The Journal of the Proceedings of the Linnean Society, 1863. Freeman 1723; c) ”On the Sexual Relations of the three forms of Lythrum salicaria”. £75,000 [128453]

All items are fully described and photographed at peterharrington.co.uk 15 First edition of the first novel in English novel in English, and which has certainly reached an audience as wide as any book ever written in the language. The first part was 14 published on 25 April 1719 in an edition of 1,000 copies; the sequel, [DEFOE, Daniel.] The Life and Strange Surprizing Farther Adventures of Robinson Crusoe, was published in August the Adventures of Robinson Crusoe, of York, Mariner. same year. Hutchins gives the standard account of the printing and pub- [With:] The farther adventures of Robinson Crusoe; lishing of the two parts, including a number of so-called variants being the second and last part of his life. London: printed within the issues. As the variants are found in so many different for W. Taylor, 1719 combinations, he and other bibliographers have suggested that 2 volumes, octavo (195 x 118 and 196 x 120 mm). Vol. I: contemporary calf, thinking in terms of separate variants or states is restrictive and dark red morocco spine label, raised bands, professionally refurbished. Vol. even “wholly misleading” (A. W. Pollard quoted in Hutchins, p. 56). II: rebound in period style to match, in full calf. Woodcut head- and tailpiec- Nevertheless, in the present copy of the first part the title page is es, historiated initials. Vol. I: engraved frontispiece by Clark and Pine, 4 pp. the second variant given by Hutchins (with a semi-colon after “Lon- publisher’s advertisements at rear, the second advert leaf supplied in facsim- don” in the imprint); the Preface is the third variant (the first page ile. Vol. II: woodcut title page vignette, copper-engraved folding map, 11 pp. ending “Men always”, with the catchword “apply”, and the second publisher’s advertisements at rear. Issued without half-titles. Vol. I rarely appears in its original binding, and is more commonly found rebound (often in page beginning “apply them”); and the text of page 343 (Z4 recto) red morocco): therefore a copy in contemporary calf, here well-stabilised, is is the first variant (with the misspelling of “Pilot” as “Pilate” in line scarce and noteworthy. Vol. I: a square, tight copy, expertly restored in 1936 2, and “Portuguese” as “Portugnese” in line 21). The second part is by Sangorski & Sutcliffe for former owner Mr James S. Cox (original invoice the second issue, distinguished by the advertisement for the fourth laid in, detailing the conservation conducted for the cost of £8 10s., includ- edition of part 1 printed on the verso of A4 (in the first issue this is ing furbishing the binding, washing the book block, and making a number blank). Hutchins does not note variants within the second issue. of neat paper repairs such as those to the frontispiece, A2, B1, and E2). Vol. II: map cleaned, pressed, and remargined along top edge, two tiny nicks to Grolier English 41; Hutchins, pp. 52–71 (first part), 97–112 (second part); Moore 412 & 417; Printing and the Mind of Man 180; Rothschild 775. fore edge and small closed puncture to bottom margin of title leaf, small ink mark to title leaf verso, rear free endpaper creased horizontally. Contents of £60,000 [132998] both browned and occasionally soiled; a very good set. first edition, first issue of the first part; first edition, second issue of the second, of the book that is widely accepted as the first

16 Peter Harrington One of the most influential works in the history of which includes his derivation of the law of refraction; Les Meteors, modern philosophy, and key to the development the most straightforward and best suited for adoption as a textbook; and La Geometrie, his application of algebra to geometry. Des- of natural sciences cartes’s purpose was “to find the simple indestructible proposition 15 which gives to the universe and thought their order and system. Three points are made: the truth of thought, when thought is true DESCARTES, René. Discours de la Methode Pour bien to itself (hence cogito, ergo sum), the inevitable elevation of its partial conduire sa raison, & chercher la verité dans les sciences. state in our finite consciousness to its full state in the infinite -ex Leiden: Jan Maire, 1637 istence of God, and the ultimate reduction of the material universe Small quarto (204 x 155 mm). Contemporary Dutch vellum over paste board, to extension and local movement. From these central propositions spine lettered by hand in black, preserved in a custom made cloth box. En- in logic, metaphysics and physics came the subsequent inquiries of graved frontispiece portrait from another work laid in opposite title. Print- Locke, Leibniz and Newton; from them stem all modern scientific er’s woodcut device on title, numerous woodcut diagrams in the text (one and philosophic thought” (op. cit.) full-page cut repeated seven times). Small cloth monogram book label of This work, one of the first European works of philosophy not to Christian Lazare to the front pastedown; Carl-Bertel Nathhorst (1907–85), be written in Latin, also introduced modern exponential notation, his sale at Christie’s, 2 June 2004, lot 54. Short crack to head of front joint, an advanced theory of equations, and made further contributions added portrait window-mounted; one or two short marginal tears, lower to many other scientific fields including meteorology and optics. outer corner with pale damp mark, leaf edges toned, with some light spotting throughout; a crisp copy with generous margins. Dibner 81; Grolier/Horblit 24; Norman 621; Printing and the Mind of Man 129. first edition of Descartes’s fundamental work in philosophy and £150,000 [134577] on the method of science. “It is no exaggeration to say that Des- cartes was the first of modern philosophers and one of the first of modern scientists … The revolution he caused can be most easily found in his reassertion of the principle (lost in the Middle Ages) that knowledge, if it is to have any value, must be intelligence and not erudition” (PMM). The Discours presents the outline of Cartesian scientific method in the form of a preface to three practical treatises: La Dioptrique,

All items are fully described and photographed at peterharrington.co.uk 17 blemishes, a few edges roughly opened, small paper restoration not affecting text at foot of B6, a very good copy. first edition of the first published survey of “Turkish literature”. Ottoman scholars had recently undertaken a massive project of re-appropriation and synthesis of earlier literatures in lands then under Ottoman rule, including Greco-Latin, Persian, and Arabic materials. The book is a survey of Ottoman studies in the fields of grammar, poetry, logic, mathematics, geometry, optics, music, medicine, herbal alchemy, chemistry, history, politics, geography, and devotion, interspersed with translations prepared by Venetian dragoman Gianrinaldo Carli (who also translated Katib Çelebi into Italian) and other apprentice dragomans. It concludes with an ex- hortation for additional translations of books from Turkish, Per- sian, and Arabic. The nominal author, Giovanni Battista Donà, had been the Venetian bailo (resident consul) at Istanbul from 1680 to 1684, but the book is the fruit of an extensive collection and translation project undertaken by a group of young apprentice dragomans working under Donà in the Venetian embassy in Istanbul. The German philosopher Leibniz, passing through Venice in 1690, remarked that the Della letteratura was the only “new” title he had discovered there. The book is rare in commerce; only the Atabey copy in 2002 has come to auction in the past 45 years. Atabey 359. Not in Blackmer or Weber. £5,750 [135849]

An exceedingly rare presentation copy of the first major work of his maturity, inscribed to his friend who saw him off to Siberian exile 17 DOSTOEVSKY, Fyodor. Zapiski iz mertvago doma (Notes from the House of the Dead). St Petersburg: Iosafat Ogrizko, 1862 The first published survey of Turkish literature, including 2 volumes, octavo (203 x 133 mm). Recent Russian brown half calf to style, Greco-Latin, Persian, and Arabic materials raised bands, dark red labels, gold vein marbled paper sides, contrasting marbled endpapers. Housed in a custom leather-entry slipcase. With half-ti- 16 tles. Some staining and browning. DONADO, Giovanni Battista. Della letteratura de’ first complete edition, very rare presentation copy to Turchi. Venice: Andrea Poletti, 1688 Aleksandr Petrovich Miliukov (1817–1897), inscribed by the author in Russian at the head of the first half-title, “Aleksandr Petrovich Duodecimo (149 x 83 mm). Later, probably 19th-century vellum over paste- boards, unlettered. With 4 folding leaves of woodcut music at end, printed Miliukov, from the author, in memory, with respect and sincere on both sides. Two oval blindstamps on title pressed flat. Minor stains and devotion”. A superb association for this novel. Miliukov and Dos- toevsky’s brother Mikhail were the only two people present to say farewell when Dostoevsky began his journey to Siberian prison and exile on 24 December 1849 (Leonid Grossman, Dostoevskii, Mos- cow 1965, p. 158). Ten years later, Miliukov was among the party at Nikolaevsky railway station to welcome him back to St Petersburg. In the meantime Dostoevsky had undergone the transformational prison experiences that he documents in this semi-autobiograph- ical novel. In all probability it was Miliukov, in the 29 April 1859 issue of the Brussels newspaper, Le Nord, who reviewed Diadiushkin son (Uncle’s Dream), the comic novella that marked Dostoevsky’s return to the literary scene after a decade’s silence. In September 1860 Dostoev- sky agreed to serve as the godfather of Miliukov’s son. And it was at Miliukov’s urging that Dostoevsky engaged the services of the ste- nographer who was later to become the author’s second wife. (For Dostoevsky’s description of Miliukov’s warm personality, see Dos- toevsky, Polnoe sobranie, vol. 18, Leningrad, 1978, p. 168.) On publication Miliukov gave Notes from the House of the Dead a highly favourable

18 Peter Harrington review, and devoted some time to the circumstances surrounding its publication in his memoir, Literaturnye vstrechi i znakomstva (Liter- ary Meetings and Acquaintances; St. Petersburg, 1890). This is an outstanding association for the first major work of Dostoevky’s maturity. The novel marks a sea-change in his fiction. The mock execution he endured, the four years hard labour in prison camp, the years of military service and exile after that, all marked him for life and would lead him onto the themes of his later novels. From The House of the Dead on, all his great works would con- cern a murder. Tolstoy so admired the novel that he wrote “I don’t know a better book in all literature” and asked a mutual friend, “Please tell him that I love him”. This two-volume edition is the first complete edition in book form, following serial publication in the literary journal Time in 1861–2 and the publication of volume I only by Eduard Prats in 1862. Full inscriptions by Dostoevsky are very rare. The only example in auction records is a selection of parts of Dnevnik Pisatelya for 1877 (A Writer’s Diary, 1877), with one wrapper inscribed by the author and a fuller inscription from Dostoevsky to the compositor of the December part pasted onto the front free endpaper, sold at auction in 1983. Kilgour 279 (this edition). £185,000 [125557]

All items are fully described and photographed at peterharrington.co.uk 19 The first archaeological survey to be extensively illustrated ners, original leather spine laid down, title gilt direct, low flat bands with dotted roll gilt, double fillet panels to compartments, new endpapers, orig- with photographs inal marbled free endpapers retained. 125 mounted original salt-prints, letterpress captions to mounting leaves and tissue-guards, 3 small engravings 18 to the introductory text, double-page engraved plan of Karnak, single-page DU CAMP, Maxime. Égypte, Nubie, Palestine et Syrie. plans of Medinet-Habu and the island of Philae. Soundly bound, presenting well on the shelf, front hinge slightly cracked towards the head at the first Paris: Gide et J. Baudry, 1852 blank, some foxing throughout, varying from light to moderately heavy but Folio (447 x 315 mm). Original brown hard-grain half morocco, marbled the prints themselves fairly lightly touched when at all, remains very good. boards, skilfully rebacked and recornered with brown cloth spine and cor-

20 Peter Harrington extremely rare first edition complete, illustrated with 125 tographic career was short-lived. After the completion of his mag- salt prints from wet paper negatives mounted one to a page. Du isterial survey of the antiquities of the Near East, he abandoned Camp’s monumental work was the first archaeological survey to be photography entirely in favour of literary pursuits. extensively illustrated with photographs. “The parlance of the day cast Maxime du Camp as [an] archaeol- A young man of independent means, Du Camp took up pho- ogist … for his interest in depicting the colossal remains of Egypt’s tography in 1849 in preparation for his second journey to North Af- pharaonic past … his journey representing transitional stages rica. With official backing from the French government, and travel- between the artistic voyage and the scientific expedition. Several ling in the company of the novelist Gustave Flaubert, Du Camp re- divergent trajectories that infuse the genre of archaeological pho- turned with over 200 paper negatives of the antiquities of Egypt and tography, a term that was still being applied loosely, are evident in the Near East, of which 125 were published here. The illustrations the images brought back. Du Camp’s literary sentiments could not were produced at the photographic printing works of Louis-Désiré help but be sharpened by his travel companion Gustave Flaubert, Blanquard-Évrard at Lille and their distinctive cool neutral tones and they emerge clearly in [this] anthology of views … Awe, a pre- are due to the prints being chemically developed rather than merely sentiment of insignificance in the face of the enormity of ancient printed-out in sunlight. Distinguished as it was, Du Camp’s pho- Egyptian civilisation—these are the sensory impressions that his salted paper prints … continue to provoke” (Lyons, Papadopoulos et al., Antiquity & Photography, pp. 38–9). £300,000 [124632]

All items are fully described and photographed at peterharrington.co.uk 21 The Thousand and One Nights illustrated by Dulac, First edition of The Three Musketeers, rivalling the work of Arthur Rackham with the original wrappers bound in and two autograph 19 notes signed by the author (DULAC, Edmund.) Stories from the Arabian Nights. 20 Retold by Laurence Housman. London: Hodder and DUMAS, Alexandre. Les Trois Mousquetaires. Paris: Stoughton, 1907 Baudry, 1844 Quarto. Original vellum, spine and front cover lettered and decorated in 8 volumes, octavo (218 x 134 mm). Late 19th-century blue half morocco by gilt with blue highlights, dark green endpapers, top edge gilt, others un- Parisian binder S. David, titles to spines in gilt in compartments, raised trimmed. Colour frontispiece and 49 other plates tipped-in on dark green bands ruled in gilt, floral motif within floriate frames in gilt to compart- paper, all with captioned tissue-guards. Some light soiling to vellum, silk ties absent as usual, some very light foxing. A very good copy. signed limited edition, number 302 of 350 copies numbered and signed by the artist. It was this book that first announced Du- lac’s status as a popular artist, confirming him as “a direct chal- lenger in the illustrated gift book market to the work of Arthur Rackham … The exotic stories he illustrated struck a new chord in Dulac. They allowed him to enlarge his skill at caricature, and at the same time to sharpen his miniaturist’s technique and to develop his lyrical sense of tone and composition. The sources he turned to were Japanese prints, which he had studied in his youth, with their flat colour and asymetry, and the high detail and colour of Indian and Persian miniatures” (ODNB). £2,750 [131648]

22 Peter Harrington ments, marbled paper sides, top edge gilt, others untrimmed, marbled end- in a very good jacket, tanned to spine panel, lightly nicked at the extremities papers, green, red, and yellow striped cloth page markers, original yellow with a small closed tear at top of front joint and a small chip from the top of paper wrappers bound in to each volume. From the library of 19th-century front panel just affecting titles. collector Léon Rattier, with his red morocco bookplate to front pastedown first edition, a major association copy, presented by el- of volume I; subsequently owned by book collector and co-founder of Yves Saint Laurent, Pierre Bergé (1930–2017), with his bookplate to the front iot to ezra pound, with his affectionate inscription, “Ez from pastedown of each volume. Slight rippling to book block of vol. III, faint O. Possum, 6.iii.50”, to the front free endpaper, dated three days dampstain to upper margin. Minor rubbing to extremities, a little foxing to before publication. contents, a couple of minor paper faults; a near-fine set. In July 1946 Eliot had visited Pound at St Elizabeth’s, Washing- first edition, with the original wrappers bound in, and with ton DC, considering his situation “very grim”, and petitioned for two autograph notes signed by the author in volume I. Les Trois him to be moved to better quarters. Subsequently, Eliot sought to Mousquetaires was originally published earlier the same year as a se- help Pound, notably by having Faber & Faber publish the UK edi- rial novel in the Parisian newspaper Le Siècle, from 14 March to 1 July tion of the Pisan Cantos in 1949, and also by manoeuvring to have 1844. The Three Musketeers “has become the archetypal adventure sto- Pound awarded the inaugural Bollingen Prize, outraging the sen- ry, as well as the best known and the most widely read (and adapt- sitivities of many that an incarcerated fascist sympathizer could be ed) of all French novels. In the historical context of its production granted thousands of dollars by the Library of Congress. it was also the prototype of the roman-feuilleton (serial novel), which Eliot owed an eternal debt of gratitude to Pound—”il miglior enjoyed phenomenal success in the 1840s … It provided a natural fabbro”—for his editorial shaping of The Waste Land. At the time of outlet for Alexandre Dumas’s talents and energies as he combined this inscription Pound continued to be held in St Elizabeth’s, work- elements of the historical romance of Sir Walter Scott with the for- ing on the Cantos and his translations of Sophocles. In the judge- mulas and themes of the romantic feuilleton … This ‘Homeric clash ment of his lover Olga Rudge he still harboured “bats in the belfry”. of Titans’, as David Coward described it, immediately became a What Pound’s sentiments must have been on receipt of this play best-seller, and was quickly translated into several languages, with can only be guessed at, but Rudge, who attended a matinee of The no less than six pirated Belgian editions on the market in the year Cocktail Party in London, wrote to Pound urging him to “encourage of publication. As Anthony Burgess noted, Dumas was truly ‘one of His friend, the Possum, who does love Him, she feels it.’” the great myth-makers of his and any age’” (Murray, p. 118). This presentation copy could have been sent to St Elizabeth’s either via Rudge or the post. It was then passed by Pound (without in- Murray, Encyclopedia of the Romantic Era, 1760–1850, Vol. II, 2004; Coward (ed.), The Three Musketeers, 1991. scription) to Eileen Lane Kinney. Kinney was a member of the inner circle of modernist artists and writers based in Paris in the 1920s £75,000 [131665] and 30s. She had been Brancusi’s lover before returning to America just as the Second World War loomed. She settled in Washington Presentation copy from “Old Possum” to Ezra Pound DC and worked on a number of translations of political studies from French into English. When in 1946 Pound was moved to St 21 Elizabeth’s, she spared little time in contacting him and arranging ELIOT, T. S. The Cocktail Party. A Comedy. London: Faber visits. Pound inscribed a copy of his Pisan Cantos for her in 1958, just and Faber Ltd, 1950 before his departure for Italy, and we suspect that this remarkable Eliot presentation may also have been given to her at this time. Octavo. Original green cloth, titles to spine gilt. With the dust jacket. Housed in red quarter morocco solander box by the Chelsea Bindery. Spine a Anne Conover, Olga Rudge & Ezra Pound: “What Thou Lovest Well …”, p.196 little cocked, minor fading to cloth along edges of boards, an excellent copy £45,000 [124275]

All items are fully described and photographed at peterharrington.co.uk 23 First edition in English of one of the most notable works more particularly on Shakespeare. Chaloner’s text appears the di- of the European Renaissance rect source for monologues in As You Like It and The Tempest, and analysis of Shakespeare’s verbal usage has identified several in- 22 stances where a word from Chaloner is used in Hamlet and in few, if any, other instances. ERASMUS, Desiderius. The Praise of Folie. [London: in The first edition of Chaloner’s translation is genuinely rare: the house of Thomas Berthelet, 1569 [recte 1549] Miller is his 1965 census lists 14 copies in institutions worldwide Small quarto (181 x 130 mm). Nineteenth-century brown crushed morocco (two are defective) but makes clear the difficulty of distinguishing by Jenkins & Cecil (their stamp to foot of front free endpaper verso), boards the first and second editions and adds the additional difficulty of ruled in gilt with crowned thistle and floral tools at corners, banded spine the misprint in the original STC entry that has created variants that with title gilt and rules and tools in six compartments, turn-ins with elabo- are really ghosts. It seems probable that there are further institu- rate tooling in gilt, marbled endpapers, gilt edges. Housed in a dark brown quarter morocco solander box by the Chelsea Bindery. Title printed within tional holdings of this edition, but apparent absences at the Folger elaborate allegorical woodcut frame, two elaborate 10-line woodcut initials, Library, the Getty, and the New York Public Library, and the dearth publisher’s device on last leaf verso; black letter text with quotations in italic of copies at auction since the 1950s, indicate the work’s rarity. and proper nouns in Roman types. Outer leaves slightly browned, small pa- Pforzheimer 359; Printing and the Mind of Man 43 (first edition, 1511); STC 10500. See per repairs to inner margin of last leaf, text not affected, an excellent copy. the Early English Text Society edition edited by Clarence H. Miller, “The Praise first edition in english of one of the most notable works of of Folie”, Oxford University Press, 1965; see Shakespeare Survey: An Annual Survey of Shakespearian Study and Production, vol. 27, Cambridge University Press, 1974. the Renaissance. “The Praise of Folly was written when Erasmus was staying in the house of Thomas More in the winter of 1509–10. Its ti- £95,000 [108395] tle is a delicate and complimentary play on the name of his host: its subject matter is a brilliant, biting satire on the folly to be found in Two landmark studies of the Arabic language, from the all walks of life … Whenever tyranny or absolute power threatened, The Praise of Folly was re-read and reprinted. It is a sign of what was library of Pierry Dippy, dragoman to the king of France in the air that Milton found it in every hand at Cambridge in 1628. 23 His inherent scepticism has led people to call Erasmus the father of 18th century rationalism, but his rationalist attitude is that of ERPENIUS, Thomas. [Arabic title] Kitab al-Jarrumiyah perfect common sense, to which tyranny and fanaticism were alike wa-Mi’at al-’amil. Grammatica Arabica dicta Gjarumia, abhorrent” (PMM). et Libellus Centum regentium, cum versione Latina, & First published in Paris in 1511, the Moriae Encomium was reprint- commentariis. Leiden: Erpenius, 1617; [bound after:] Johann ed in a large number of editions in its original form before any ver- Fabricius. Specimen Arabicum. Rostock: Hallervord, 1637 nacular translation was published. Pforzheimer suggests that, in light of the intended Latinate audience, the free movement of Latin 2 works in one volume, quarto (179 x 133 mm). Eighteenth-century French cat’s-paw calf, expertly rebacked to style, two-line blind frames to sides, books and unbound sheets, and the contemporary preference (at red edges, marbled endpapers, bound green silk page-marker. Housed in a least in England) for continental printing, a translation was simply brown cloth flat-back box by the Chelsea Bindery. Engraved title page to the not required. Thomas Chaloner (1520–1565), the Cambridge-ed- Kitab al-Jarrumiyah; woodcut initial figures and headpieces. Several passages ucated English translator, strove to remain faithful to Erasmus’s in the Specimen asterisked in the margins in a contemporary hand; frequent tight, lean style, resulting in a work of lasting importance that had lightly pencilled marginalia in French and Arabic to both texts, late–18th or a very considerable influence on English literature in general and early–19th century. Variable mild spotting and browning, a few small ink-

24 Peter Harrington spots and other marks. Kitab al-Jarrumiyah: narrow worm-track to lower Kitab al-Jarrumiyah, bound second here, is the first Arabic gram- outer corners from title to sig. C2, occasionally reappearing but the text mar published in the Netherlands. The work of the great orientalist never affected, sig. S3 present in uncancelled state (lacking a line of Arabic Thomas Erpenius (1584–1624), first professor of Arabic at Leiden, it text recto), the corrected cancel bound in between R4 and S1. Specimen Ar- comprises his Latin commentary on the Ajurrumiyah, a highly influ- abicum: minor paper disruption in gutter ff. 1–3 with loss of half a letter in f. 1 r., small worm-tracks to gutter from title to sig. F4, occasionally reappear- ential medieval Arabic grammar by Moroccan scholar Ibn Ajurrum ing, and to upper margin sigs. A1–4, the text never affected, old restoration (d. 1327), together with the second edition of the original Arabic, to lower outer corners of F3 and R4 (to partial loss of catchwords), lower and the first edition in the original Arabic of another text, the Mi’at inner corners of T1 & T4, and Z1 upper outer (to loss of pagination in the ‘amil (Hundred Rules) of ‘Abd al-Qadir al-Jurjani (d. 1078), one of the latter), extensive tear to S4 sometime repaired, the paper slightly misaligned texts which established Arabic grammar (nahw) as a discipline and the text partially obscured but still easily guessed, small spill-burn to during the emergence of the madrasah. The Ajurrumiyah is “the Cc2 obscuring a couple of letters recto. These flaws unobtrusive overall; a most widely used primer in the whole history of Arabic grammar” good copy that presents well. (Meri, ed., Medieval Islamic Civilization: An Encyclopaedia, p. 300), and first editions of two landmark studies of the Arabic language, inspired countless epitomes and commentaries, of which Erpeni- from the library of Pierre Dippy (1622–1709), Maronite dragoman us’s edition was especially important: the first edition, published at to Louis XIV of France and chair of Arabic and Syriac at the Collège Rome in 1592, was printed entirely in Arabic so “was by no means Royal in Paris from 1667 to his death, the title pages inscribed “Ex easily accessible to European scholars unfamiliar with Arabic lin- libris Pierre Dippy” in a contemporary hand (the name ineffectu- guistic terminology” (Vrolijk & van Leeuwen, Arabic Studies in the ally struck out), the title of the Kitab al-Jarrumiyah additionally in- Netherlands, p. 32). scribed “1654”. Both title pages are also inscribed in Arabic, “this Specimen Arabicum is considered “the pioneering account of clas- is the book of Butrus ibn Diyab al-Halabi [Dippy’s Arabic name], sical Arabic metrics” (Johann Heinrich Hottinger Loop, Arabic and dragoman to the King of France, may God have mercy on him”, the Islamic Studies in the Seventeenth Century, p. 174). Prepared by Johann Specimen further inscribed “and whoever reads this line, 1673”. The Fabricius (1608–1653), professor of Hebrew at Rostock, it contains formula “may God have mercy on him” is invariably used only of the first editions of three highlights of medieval Arabic literature, the dead, and the hand appears to be that of a native, so the inscrip- with Latin commentary: the Maqamah al-San’a’iyah of al-Hariri tion was likely added at a later date, perhaps by Dippy’s nephew and (d. 1122), the first in his famous series of picaresque vignettes in protégé, also Pierre, who tried to succeed him in the Arabic chair at rhymed prose; a poem by Abu’l-’Ala’ al-Ma’arri (d. 1057) entitled the Collège but was outmanoeuvred by Antoine Galland. There are A’an wakhd al-qilas (Speeding off on a Camel), part of his Diwan Saqt al- also inked Arabic marginalia to page 13 of the Specimen, and to pages zanad (The Tinder Spark) written for Sa’d al-Dawlah, Hamdanid amir 12, 19, 25, and 115 of the Kitab al-Jarrumiyah, correcting or adding of Aleppo; and a qasidah by great Sufi poet Ibn al-Farid (d. 1234), to the printed text in a fluent contemporary hand; the annotation Antum furudi wa-nafli (You are my Duties and Devotions). Fabricius based on page 12 of the Kitab al-Jarrumiyah is closely trimmed, suggesting his work on the lectures and manuscripts of Dutch orientalist Jakob that the marginalia predate the 18th-century binding, and are likely Golius, who succeeded Erpenius at Leiden. to be Dippy’s or an Arabist peer’s. As the king’s personal Arabist, Schnurrer 53 & 70. Dippy was at the heart of the revival of the Franco-Ottoman alliance during the reigns of Louis XIV and Mehmed IV, and was official in- £9,750 [118772] terpreter during the famous embassy of Müteferrika Süleyman Aga, whose sensational arrival in 1669 triggered a new wave of Turkerie across France.

All items are fully described and photographed at peterharrington.co.uk 25 Freud’s first published paper, presentation copy to an Freud’s first major work, in original printed wrappers influential professor at the University of Graz 25 24 FREUD, Sigmund. Die Traumdeutung. Leipzig & Vienna: FREUD, Sigmund. Über den Ursprung der hinteren Franz Deuticke, 1900 [1899] Nervenwurzeln im Rückenmark von Ammocoetes Octavo (235 x 152 mm). Uncut in the original printed paper wrappers, skil- (Petromyzon Planeri). Offprint from: Sitzb. der k. Akad. fully rebacked preserving the original spine. Housed in a pale green cloth solander box. Diagrams to text. From the library of Jo. Weber, with the red der Wissenschaften, 3 Abth., 75 (1877). [Vienna: K.k. Hof- und inked “Bibliothek Jo Weber” stamp and shelfmark label to the front wrapper; Staatsdruckerei, 1877] subsequently from the library of Pierre Bergé, with his library label to the inside of the solander box. Wrapper extremities creased, some sunning to Octavo, pp. 13, [3]. Original brown printed wrappers. Folding plate, litho- spine and rear wrapper, small nick to top edge of pp. 371–2 and a couple of graphed by Schuma after Freud. Front wrapper dust-soiled at head, an ex- pencil marks to margins, a few leaves unevenly opened; in all a near-fine cellent copy. copy, excellently preserved. first separate printing, presentation copy, with Freud’s first edition of Freud’s greatest single work, The Interpretation inscription at the head of the front wrapper, “Rollett”, that is, Al- of Dreams, one of only 600 copies printed; very rare in the original exander Rollett (1834–1903), the Austrian physiologist and histolo- wrappers. “Die Traumdeutung contains Freud’s general theory of the gist. The presentation was likely made at the suggestion of Freud’s psyche, which he had developed during the past decade. Using his supervisor, Professor Ernst Brücke, who had mentored Rollett in refined understanding of the operation of the unconscious, Freud his first post at the University of Graz in 1863. Since then Rollett had interpreted dreams on the basis of wish-fulfilment theory and been instrumental in making the University of Graz an internation- discussed displacement (the appearance in conscious thought of al centre for physiological training and education; he was rector of symbols for repressed desires), regression, Oedipal impulses, and the university four times between 1872 and 1903. the erotic nature of dreams. Although this was his first major work Freud’s first published paper was his “second piece of student on normal psychology, Freud gave an unprecedented precision and research, on the function of the large Reissner cells in the spinal force to the idea of the essential similarities of normal and abnor- cord of the primitive fish Petromyzon … Freud showed that the Reiss- mal behaviour, opening up the door to the irrational that had been ner cells ‘gave rise to the root-fibres of the posterior roots’ (Stand- closed to Western psychology since the time of Locke” (Norman). ard edition III, p. 228). Freud’s investigation of the Reissner cells “It contains all the basic components of psychoanalytic theory and appeared in print three months before the publication of his first practice” (PMM). The book was published on 4 November 1899 original piece of student research, on the gonadic structure of the (though post-dated by the publisher) but sold so slowly that the male eel” (Norman). second edition did not appear until nine years later. As widespread Grinstein 37; Jones I, pp. 51–2; Norman F1. practice of psychoanalysis in a clinical setting lay some years in £15,000 [128841]

26 Peter Harrington the future, The Interpretation of Dreams was the first introduction of finished the book that year and the complete German text in three Freud’s ideas to a general readership. parts was first published in Amsterdam in March 1939 as Der Mann Garrison–Morton 4980; Grinstein 227; Grolier/Horblit 32; Grolier Medicine 87; Moses und die Monotheistische Religion. Freud’s English was excellent, Norman F33; Printing and the Mind of Man 389. but he entrusted the task of translating the book to Katerina (Kitty) £50,000 [131686] Jokl, who had been at school with Freud’s daughter, Anna. “In fact, his desire to see the English translation published became his most urgent dying wish” (Freud’s Literary Culture, Frankland). Katerina was Signed photograph of Freud in exile in London, correcting the second wife of Freud’s leading British acolyte, Ernest Jones. The the proofs of his final work English translation was published by the Hogarth Press in May 1939 (the translation credited to Katherine Jones), Freud dying in Sep- 26 tember that year. FREUD, Sigmund. Signed photograph. [London: Wilhelm £22,500 [132013] Hoffer, photographer, 1938] Original silver gelatine print (112 x 87 mm). Signed by the subject, “Sigm. Freud”, across the lighter portion of the photograph. Pencil markings on verso and faint ink processing number “89 030”; traces of album mount. Sil- vering of the darker parts of the image, else very good. Presented in a dark stained oak frame with museum acrylic glazing. freud reads the manuscript of moses and monotheism. A superb signed photograph of Freud at work taken by the Austri- an-British psychoanalyst Wilhelm Hoffer (1897–1967), depicting Freud seated at his desk in London. Freud had begun working on his Moses book in 1934 and partly published it in German in 1937. He arrived in London on 6 June 1938, announcing that he wished to continue his biblical studies. (Hoffer also fled Vienna for London about the same time.) Freud

All items are fully described and photographed at peterharrington.co.uk 27 A remarkable collection of Galileo’s works, including the any language. The Systeme of the World, followed by the short but im- first edition of English of Dialogo, the only vernacular portant Epistle to the Grand Dutchesse Mother concerning the Authority of Holy Scripture in Philosophical Controversies (known today as the Letter translation for 200 years to Christina), was only the second work of Galileo’s to be published 27 in England. It preceded the Latin edition, published in London by Thomas Dicas, by two years and remained the only vernacular (GALILEI, Galileo.) SALUSBURY, Thomas, trans. translation for two centuries. Apart from the two works by Galileo, Mathematical Collections and Translations: The first Salusbury included seven other translations from Italian and Latin Tome. In two parts … London: printed by William Leybourn, in volume I of his Collections. The second volume, including an ex- 1661 tensive life of Galileo in part two, was published in 1665 but almost totally destroyed in the Great Fire of London. The Brereton–Mac- 2 parts in 1 volume as issued, folio (338 x 219 mm). Nineteenth-century clesfield copy is apparently unique in containing both parts. half calf, brown cloth sides with the emblem of University College Lon- don stamped in gilt, marbled endpapers. With 4 folding plates, numerous ESTC R19153; Taylor 268; Wing S517. printed diagrams and woodcut and copper engravings in text. Bound with- £50,000 [128763] out half-title and errata leaf. Minor rubbing to binding, trivial splits to first plate folds, tiny chip to PP1, XX1, HHH, XXX2 FFFF1, small chip to corner of MMM4, small burnhole to GGGG2, none of these affecting text. Stain in bottom corner of final section, with last few leaves a little frayed, creased and soiled. A well-preserved, crisp copy. Ex libris Benjamin Robert Mulock (1829–1863), presented by to him by University College London in 1849 as a prize in mathematics, with their presentation bookplate and gilt supralibros to covers; Mulock was one of the earliest photographers of Brazil, and docu- mented the construction of the Bahia and San Francisco railroad. first edition in english of Galileo’s Dialogo, the major work to be included in volume I, and the first vernacular translation in

28 Peter Harrington The finest book of the Golden Cockerell Press and one of the great private press books of the century 28 GILL, Eric. The Four Gospels of Lord Jesus Christ according to the Authorized Version of King James I. Waltham St Lawrence: The Golden Cockerel Press, 1931 Folio. Original white half pigskin by Sangorski & Sutcliffe, expertly rebacked to style, gilt lettered and banded spine, gilt cockerel device in 5th compartment, brown buckram sides, top edge gilt, others untrimmed. Housed in a custom brown cloth slipcase with white pigskin entrance, to style. Printed in 18-point Golden Cockerel type, 65 wood-engraved illustrations by Eric Gill, 4 of which are full-page. Very light soiling to cloth and tips, contents clean and bright. A near-fine copy, with the spine, prone to soiling and fading in the original, here rebacked with great skill. limited edition, number 454 of 500 copies on paper; 12 copies were also issued on vellum. “Conceived in the fruitful mind of Robert Gibbings, this is the Golden Cockerel book usually com- pared with the Doves Bible and the Kelmscott Chaucer. A flower among the best products of English romantic genius, it is also surely, thanks to its illustrator, Eric Gill, the book among all books in which Roman type has been best mated with any kind of illustration” (E. R. Gill, Eric Gill, 285). This is “arguably Gill’s greatest achievement and one of the great private press books of the century” (Hunter & Kelly). Chanticleer 78; Gill 285; Hutner & Kelly, A Century for the Century, 26. £13,500 [133103]

All items are fully described and photographed at peterharrington.co.uk 29 A lifetime’s collection of original sketches of life in the photographic portrait of the artist in later years, depicting a well- Maghreb by a talented French artist dressed, solidly-built bourgeois gentleman with a beard, who is apparently missing his right arm. Examples of his oils are held in the 29 collections of the Musée de l’Armée in Paris and the Musée Marey et des Beaux-Arts in Beaune. GIRARDOT, Alexandre Antoine. Two albums compiled The inclusion of a rare portrait of Abdelkader, leader of the Alge- from an artist’s sketchbooks recording nearly 40 years of rian resistance, made in 1852, and of Léon Roche, son of the mayor life in Algeria. Algeria: 1830–67 of Oran, interpreter to General Bugeaud, and renegade confidante Two oblong folio albums (360 x 280 mm). Dark green shagreen, concentric to the emir, suggests a military or diplomatic reason for Girardot’s panelling in blind, AG monogram gilt to the centre of the front boards. Ac- lengthy sojourn in Algeria, an inference supported by his interior companied by a photographic portrait of the artist c.1860. Housed in two views of the English and Spanish consulates. burgundy flat-back boxes by the Chelsea Bindery. A total of 420 pages with The two albums represent the artist’s own collection of his Al- more than 1,000 mounted drawings of various sizes, most of which are cap- gerian sketches, largely comprised of highly-finished pencil draw- tioned, monogrammed and dated between 1840 and 1867. The albums just a little rubbed, some light restoration to head and tail of spines, to joints and ings, a good number completed in watercolour, at a time when the board edges, the contents clean and sound, overall very good indeed. country was otherwise largely unknown to the outside world. The invasion of 1830 marked the end of several centuries of Ottoman The Parisian artist Alexandre Antoine Girardot (1815–c.1877) en- rule in Algeria and the beginning of French Algeria. rolled at the École des Beaux-Arts on 6 October 1836. A student of Blondel, he exhibited regularly at the Salon between 1841 and 1848, A fuller description of the artwork in these albums is available via our website or on request. submitting views of Algeria and other “oriental” subjects. He probably made his first trip to Algeria at the time of, or shortly after, the £95,000 [110595] French invasion in 1830, when he was only 16 years old; the first album opens with a group of panoramic views of Algiers, including one “as it appeared in 1831”. The albums are accompanied by a

30 Peter Harrington All items are fully described and photographed at peterharrington.co.uk 31 Original photographs illustrating the earliest years of RAF pilot Freddie Bosworth. Gulf Aviation was formally incorpo- commercial aviation in the Gulf rated in 1950, which coincides with the images in these albums. Bosworth planned to establish scheduled feeder and cabotage ser- 30 vices between a number of the Gulf States, alongside charter/air taxi services, aircraft handling and flying training. Scheduled op- (GULF AVIATION.) Pair of photograph albums, erations based in Bahrain commenced on 5 July 1950, to Doha and comprising over 550 images. Bahrain, Doha, Kuwait, Iraq, Sharjah, and on 28 September 1950 to Dhahran. The company Gulf Persia: 1948–55 Aviation eventually evolved into Gulf Air, which became the joint 2 volumes, quarto (325 x 210 mm). Contemporary commercial Twinlock flag carrier for Bahrain, Qatar, Abu Dhabi, and Oman. Crown 3C maroon rexine post-binders, rounded corners, heavy stock The first album has 200 images of Bahrain (approximately 143 sand-coloured grained endpapers; manuscript titles to spine labels: “Bah- identified more specifically as Manama, 30 as Adari and Awali, rain – Doha – Kuwait” and “Iraq – Persia”. Total of 574 original monochrome 26 as Muharraq); 11 at Doha; 41 at Kuwait. The 3 colour prints are photographs (varying sizes from 55 x 85 to 72 x 103 mm, landscape and por- of scenes in Bahrain. The volume includes shots of a BOAC Short trait), 3 colour photographs (50 x 80 mm), all mounted recto only on pale grey leaves, sporadic captioning in blue biro; 5 BOAC colour maps and Sandringham 5 flying boat and a gallery of local types. There are brochures and 4 colour commercial postcards of Basra tipped in. Binders a views at Bahrain races and a series taken at “Belgrave’s Folly”, the little rubbed at extremities, occasional light abrasions and scuffs, overall in deep-water spring at Idari that was improved by Charles Belgrave, excellent condition. advisor to the rulers of Bahrain. There are seven images of the These albums contain photographs taken in Bahrain, Doha, Ku- oil refinery at Awali. Four snapshots were taken at “Thompson’s wait, and Iraq at the moment when the region was just opening beach”, named after G. B. Thompson (pictured here with his wife), up to Western oil companies and in part chronicles the origins of the Bahrain government oil inspector, who was appointed by Bel- commercial aviation in the Gulf. Although probably an aviator rath- grave to run Gulf Aviation after Bosworth’s death in a plane crash er than a professional photographer, he used equipment of a good in June 1951. The scenes at Muharraq (1948–9), an air base origi- standard. His images are skilfully shot and developed, showing nally established by the RAF in 1943, include various aeroplanes. excellent definition and tonal range; scenes are thoughtfully com- The Kuwait section (April 1951) opens with two birds-eye views of posed and show a genuine feeling for people and place. the city from the air, followed by four shots of various planes. A It seems likely that the photographer was involved directly with photograph of the airport building is captioned “in 1949 only the the early days of Gulf Aviation and perhaps with its pioneer, former tents were there”. The second volume has 322 prints: 10 of Beirut

32 Peter Harrington clude images of Baghdad’s “Railway Club”, a watering-hole popular with pilots, a number of whom are identified by name. See W. M. Ballantyne, Essays and Addresses on Arab Laws, Routledge, 2000; Charles Belgrave, Personal Column, Librairie du Liban, 1996; Robin Higham, Speedbird: The Complete History of BOAC, I. B. Tauris, 2013. and Lebanon (dated Aug. 1952–Sept. 1953); 220 of Baghdad; 50 of Basra, Abadan, and Khorramshahr; and 42 of Tehran. Images in- £65,000 [135949]

All items are fully described and photographed at peterharrington.co.uk 33 Exceptionally rare privately-printed account of a British in Kuwait when he was chosen to be part of the British mission to officer’s secret talks with Abdulaziz Riyadh, the capital of the Al Saud. It was his task to travel ahead of the other two officers, St John Philby and Lieutenant-Colonel 31 F. Cunliffe-Owen, and to engage Abdulaziz in preliminary discus- sions. Gertrude Bell refers to this “important mission” and that HAMILTON, Robert Edward Archibald. Diary of a “their report had been received shortly before I left for Cairo” (see Journey in Central Arabia (1917). [No place: for the Author, Letters, II p. 520). Hamilton was fully aware of his primary objective, c.1918] “to discover a plan for his [Abdulaziz’s] effective co-operation with Small folio, pp. [ii], 30 (paper watermarked “Original Cream Laid Kent”). us and the Shereef in the work of expelling the Turks from the Pen- Contemporary pale green buckram. Housed in a green quarter morocco insula” (p. 19). solander box by the Chelsea Bindery. Illustration in the text at p. 3 (small Hamilton builds a formidable picture of Abdulaziz and, impor- line drawing of an Arab well). Boards slightly bowed, a touch of wear to cor- tantly, of his ambitions for the creation of an “Empire of Arabia” ners. A very good copy. controlled by the Al Saud. With some prescience, Hamilton stress- first edition, privately printed and remarkably scarce: we have es Abdulaziz’s growing interest in the Ikhwan, a Wahhabi-revivalist not been able to locate another copy in any institutional library movement which later spearheaded Al Saud expansion. worldwide; only two copies have appeared at auction. The official After three weeks and two days in Riyadh, Hamilton depart- version, which was printed for the British Government in May 1918, ed on 5 December with a pair of oryxes—gifts from Abdulaziz to is of comparable scarcity: Copac cites only the copy in the India George V. His account of the return journey is comparatively short, Office Records at the British Library. but not without interest, ending with his return to Kuwait, ill and Hamilton’s Diary provides an important first-person account exhausted, on 28 December. of private talks with Abdulaziz, giving a vital insight into his plans for the Al Saud just 13 years before the unification of Saudi Arabia. £50,000 [124525] Hamilton’s description of his route through north-western Najd is also of great value. The self-published first edition in book form of Haydn’s Robert Edward Archibald Hamilton (from 1934 Hamilton-Udny, most famous and enduring masterpiece, The Creation 1871–1950), 11th Lord Belhaven and Stenton (succeeded to the title 1920), was an Indian Army officer, before serving in Mesopotamia 32 (1915–18) during the Great War, where he was mentioned in des- HAYDN, Joseph. Die Schoepfung, Ein Oratorium … The patches. He is alluded to extensively by Philby in The Heart of Ara- bia (1922) and pictured in Arab garb, alongside Fahad of the Royal Creation, An Oratorio. Vienna: [ for the composer,] 1800 Bodyguard, photographed at Riyadh. Hamilton was political agent

34 Peter Harrington Folio (360 x 248 mm). Contemporary half calf, vellum boards, red morocco that there was not a music publisher in Vienna or in London that label to the front board, false bands framed by single gilt rules. Housed in could cope with this vision, a realization that served only to further brown cloth drop-back box. Housed in a black quarter morocco solander the ambition and led to the inevitable decision that it ought to be box by the Chelsea Bindery. Initial blank, engraved title, 4 subscriber leaves, published by the composer himself … the services of Artaria were 303 engraved plates of music on heavy paper. With Haydn’s small monogram ink handstamp to foot of title page. Somewhat rubbed, spine skilful- engaged to prepare the engraved plates, 303 in number … Haydn ly restored, corners consolidated, slight softening of fore-edge of first few also paid for the paper, imported from Northern Italy. The expens- blanks, some minor splits, title page professionally repaired, slight loss to es were to be recouped by seeking subscription … Eventually 507 imprint supplied in pen facsimile, Haydn’s authorization stamp unaffected, copies were ordered by 409 subscribers … this would have brought internally very clean, overall very good. in close to 7,000 gulden, a good profit on total costs of 2,500 gul- first edition, published by the composer, extremely uncom- den” (ibid.). mon, particularly so with the seldom-encountered 4-leaf subscrib- “There is hardly any doubt in the mind of the average music-lovers list; an excellent copy of this monumental work, widely recog- er that Haydn’s oratorio The Creation is, tutto sommato, his greatest nised as one of the highpoints of the Western musical canon. “The single accomplishment, and certainly ranks as one of the greatest Creation is a masterwork in the special sense that it has no weak products of any eighteenth-century mind. It occupies a central po- point, nothing that could be changed or omitted” (New Grove). sition in choral literature and its composition and first performanc- From the time of its very earliest performances this oratorio, with a es were the dominant features of Haydn’s life in the late 1790s” libretto by Gottfried van Swieten, was embraced as a tour de force. (Robbins Landon, p. 12). “Perhaps no other piece of great music has ever enjoyed such im- BUC p. 456; Eitner V p. 66; Hirsch IV 799; Hoboken thematic catalogue Vol. II p. mediate and universal acceptance”. The oratorio was first mounted 36; Leipzig catalogue p. 19; New Grove, 8: pp. 346–7 & 358; RISM H2521; Vecsey at a private performance for van Swieten’s Gesellschaft der Associierten 303. H. C. Robbins Landon, Haydn; Chronicle and Works, Vol. IV: Haydn: The Years of “The Creation”, 1796-1800. at the Palais Schwarzenburg in Vienna on 29 and 30 April 1798, but not performed publicly until the following year, when it was heard £12,000 [125770] at the Burghteater in Vienna on 19 March. The immediate success of the piece fired Haydn’s imagination. “His plans for the publication of The Creation were on a scale and an ambition unprecedented in the history of music” (Jones, The Life of Haydn, p. 197). The desire to create a legacy similar to that established by the publication of the “monumental edition” of Handel’s music, 1787-97, must have been a motivation, the decision to publish in two languages added a further level of difficulty. “They knew

All items are fully described and photographed at peterharrington.co.uk 35 First printing in Greek of the Iliad and the Odyssey two copies, was printed in Florence either in 1475 or c.1488–94.) The editor Demetrius Chalcondylas was professor of Greek at the 33 Florentine Studio from 1475 until 1491. The type is that of Demetri- HOMER. Opera [Greek]. Florence: [Printer of Vergilius (C us Damilas, a scribe who had previously been active in the printing 6061)], for Bernardus and Nerius Nerlius and Demetrius Damilas, of Greek books in Milan since 1476. It was based on the handwrit- ing of Michael Apostolis, which was simpler and more distinct than [not before 13 Jan. 1488/89] Damilas’s own elegant but elaborate hand. The text of Homer was 2 volumes, folio (312 x 216 mm). Late 18th-century red long-grain moroc- not printed again in Greek until Aldus’s octavo edition of 1504, co, spine lettered and tooled in gilt, double raised bands; an English bind- which was based directly on Chalcondylas’s text. The Batrachomy- ing, decorated in the style of Roger Payne. With 16th-century annotations omachia (Battle of the Frogs and Mice), a pseudo-Homeric text also throughout, mainly in Latin and Greek, perhaps some in Italian. Binder’s mistake resulting in preliminary leaves for the Iliad bound at the start of the included here with the Iliad, Odyssey, and Homeric Hymns, had been Odyssey; blanks E10 and ETET6 not preserved. From the library of George earlier printed in an unsigned Greek-Latin edition printed perhaps Shuckburgh (1751–1804), the well-known English bibliophile who owned a at Brescia or Ferrara, which is known only from the unique copy in Gutenberg Bible, the first to reach the United States; sold, through Good- the John Rylands University Library, Manchester. speed, to William Wyatt Barber, Jr, principal of St Mark School; auction, Despite the lengthy and circumstantial colophon, bibliogra- Christie’s New York, 7 Dec. 2012 (lot 86). A beautiful copy. phers have had trouble in agreeing on the correct imprint and date. first edition in the original greek of the writings attribut- Robert Proctor (The Printing of Greek in the Fifteenth Century, 1900, p. 66 ed to Homer, including the Iliad and the Odyssey, two of the earli- sqq.) argued that the edition was actually printed in the shop of Bar- est, most important and influential works of European literature. tolommeo di Libri, whose type was used to print the dedication to “The Iliad and the Odyssey are the first perfect poetry of the western Piero de’ Medici on the first page. BMC assigned the edition rather world. They spring fully grown, their predecessors lost, and the to the Nerli brothers, but Roberto Ridolfi (La stampa a Firenze nel seco- magic has persisted ever since. The legends of the siege of Troy lo XV, 1958, p. 95 sqq.) has pointed out that the Nerli were well-born and the return of Odysseus are the common heritage of all … The and wealthy Florentines whose role would have been a purely fi- form, the action and the words have had incalculable influence on nancial one. He has instead assigned the Homer to the anonymous the form, action and words of poetry ever since; the composition Florentine shop, the Printer of Virgil (Copinger 6061, Goff V183), of the Aeneid, the Divine Comedy, Paradise Lost, and many others, has which flourished from 1488 to 1490 or so. Ridolfi supposes that been determined by the Iliad and the Odyssey. Their popularity never only the first, dedication page was printed in di Libri’s shop, more diminishes” (PMM). than a month after the completion of the edition proper, this page This monumental printing is the first large-scale printing in hitherto having been planned as a blank. Greek, and also probably the first Greek book printed in Florence. HCR 8772; BMC VI 678 (IB 27657a); Goff H300; Printing and the Mind of Man 31. (The rare Erotemata by Emanuel Chrysoloras, which survives in only £250,000 [131684]

36 Peter Harrington The Scottish Enlightenment philosopher’s first great work, ken-backed publication history, the three volumes of the Treatise are complete with the later supplementary third rarely found together. “The book comes up for sale so seldom that one may doubt whether more than one or two hundred can be ex- volume often lacking tant” (Keynes and Sraffa, in their introduction to Hume’s Abstract). 34 Chuo 30; Fieser A.1–3; Jessop, p. 13; Printing and the Mind of Man 194; William B. Todd (ed.), Hume and the Enlightenment (1974), pp. 190–1. HUME, David. A Treatise of Human Nature. London: John £125,000 [120809] Noon (vol. III Thomas Longman), 1739–40 3 volumes, octavo (195 x 122 mm). Rebound to style in modern speckled calf, red and green morocco labels to spines, red morocco roundels on green labels lettered in gilt, compartments ruled in gilt, raised bands tooled with rope-twist roll in gilt, boards double-ruled in black, red sprinkled edges. Housed in a brown cloth flat-back box by the Chelsea Bindery. Engraved head- and tailpieces and initials. Contents to Books I and II additionally bound in to the front of vol. II. Corrections neatly made in pencil to contents of vol. I following errata, two faint marginal pencil marks to vol. II. Very occasional spotting, still a fine set. first edition of Hume’s first great work, rarely found thus, complete in three volumes, with two of five leaves which Chuo notes as often cancelled in the uncancelled state (A4 and F6 of volume 3). Hume composed the first two books before he was 25 during his three years in France. He returned to London with the finished manuscript by mid-September 1737, but he did not sign articles of agreement with a publisher, John Noon, for another 12 months, and the two volumes finally appeared, anonymously, at the end of January 1739. Already fearing that they would not be well received, Hume had meanwhile begun a third volume, Of Morals, in part a re- statement of the arguments of these first two books, which was not published until 5 November 1740 by a different publisher, Thomas Longman. Hume treated the third volume as a discrete work in its own right in so far as he later “cast anew” its contents alone as An Enquiry Concerning the Principles of Morals (1751). As a result of this bro-

All items are fully described and photographed at peterharrington.co.uk 37 First printed edition of the standard medical much of the foundations of medicine in the Islamic Golden Age. encyclopaedia of the medieval era, one of the glories of This particular text, the Canon of Medicine, was used in Western and Islamic universities alike as the standard medical encyclopaedia Islamic science from the middle ages until the 18th century. 35 The Arabic types used here were designed by Robert Granjon for the Typographia Medicea, set up by Ferdinando de’ Medici at IBN SINA, Abu ‘Ali al-Husayn ibn ‘Abdallah, known as the behest of Pope Gregory XIII for printing in Arabic and other Avicenna. Al Qanun fi al’Tibb (The Canon of Medicine). oriental languages. This is the variant with the title printed in Ar- Rome: Typographia Medicea, 1593 abic. The Typographia Medicea’s Arabic translation of the Gospels Folio (326 x 220 mm) in 6 parts, comprising the title, preface (5 folios), Book precedes this work by two years, and the final section of this codex I (pp. 1–112), Book II (pp. 113–280), Book III (pp. 281–610), Book IV (pp. includes Christian anecdotes and teachings that were an addition 1–176), Book V (pp. 177–268), index (32 leaves) and a further “Compendium to the standard text by the Medici press. This proselytizing reli- of Ibn Sina” (pp. 1–85). Nineteenth-century quarter morocco, spine with 5 gious content may be the reason for the scarcity of this final part of raised bands, green cloth sides. Title page in Arabic with publisher’s details the work. In commerce, the book is rarely found complete, usually in Latin, and tailpieces, text printed in double ruled border. Overlining to lacking parts IV, V, and the “Compendium of Ibn Sina”. Interesting- headings and important phrases throughout in red by hand, a few early per- ly, although the present volume has been in the Middle East for a sonal ink seals (of seemingly Persian origin), a few contemporary annota- few centuries, the final section has remained. tions to margins, first and last 4 leaves with margins repaired at outer edges, some of these mounted on stubs, leaves a little browned, overall a very good Aboussouan 445; Adams A2322; Arabic Books Printed in Europe (King Abdulaziz copy of this rare text. Public Library) 96; CNCE 3554; Fingernagel (ÖNB 2010), p. 106; GAL S I, p. 824; Schnurrer 393. Cf. Heritage Library, Scientific Treasures, p. 57. first printed edition of the most authoritative medical text in the islamic world. Avicenna (d.1037) was a Persian £75,000 [133679] physician and astronomer whose literary contributions formed

38 Peter Harrington Five of the most influential plays in the modern theatre, in John Gabriel Borkman (all represented here), and considers his whole the original language and original decorative cloth theatrical oeuvre canonical. “Ibsen’s influence on the whole course of modern drama may be indicated by the inclusion of his plays in 36 the repertoire of every avant-garde theatre of his day—the Theatre Libre, Paris, 1887, Die Freie Buhne in Berlin, 1887, and The Inde- IBSEN, Henrik. Et dukkehjem; Hedda Gabler; Bygmester pendent Theatre in London, 1891—and although on every occasion Solness; John Gabriel Borkman; Når vi døde vågner. that they were produced audience reaction was largely a mixture Copenhagen: Gyldendalske Boghandels Forlag (F. Hegel & Søn), of protest and bewilderment, Ibsen’s revolutionary technique has 1879–99 now become firmly established” (PMM). 5 works, octavo (172 x 111 mm). Original cloth in different colours, titles Printing and the Mind of Man 375 (Hedda Gabler). and extensive decorations to spines and front boards in black and gilt, publisher’s device and decorative frame to rear boards in blind, all edges gilt, £5,750 [94561] patterned endpapers, bound silk bookmarks. Bookplate of Hans Thorsen to front pastedown of Hedda Gabler; ownership inscription to front flyleaf. Extremities a touch rubbed, minor wear to spine ends, mild toning and occasional minor spotting to margins of text blocks, light foxing to text block of Et dukkehjem and to endpapers and flyleaves ofNår vi døde vågner. Otherwise an excellent, bright set. first editions in the original Dano-Norwegian of five of Ibsen’s plays—A Doll’s House, Hedda Gabler, The Master Builder, John Gabriel Borkman, and When We Dead Awaken—all in the publisher’s richly gilt decorative cloth. Initially working with various publishers based in Oslo, Ibsen changed publisher with Brand (1866), moving to the Danish Gyldendalske Boghandel. The publisher Fredrik Hegel considered Ibsen’s language a little too provincial and requested the author avoid what Hegel considered Norwegianisms. While Brand was published without revisions, “Ibsen would later adhere to He- gel’s wishes to some degree, and in a letter to Hegel written in 1868 regarding De unges forbund (The League of Youth), [Ibsen] writes that ‘the play is the most artistically refined work I have ever written, and I doubt, that one will find in it a single distinctly Norwegian expression, that does not fit the Copenhagen scene’” (Falkenberg, “Ibsens språk”, Språknytt 2000:1–2; cataloguer’s translation). Printing and the Mind of Man, which singles out Hedda Gabler as it is “possibly his most frequently performed play in the modern theatre”, also makes mention of A Doll’s House, The Master Builder, and

All items are fully described and photographed at peterharrington.co.uk 39 The complete collection of Jonson’s works, which had provided the model for similar collections, such as the first Shakespeare folio 37 JONSON, Ben. The Workes. London: printed by Richard Bishop [and Robert Young], and are to be sold by Andrew Crooke, 1640; — The Workes of Benjamin Jonson. The second volume. Containing these Playes, viz. 1 Bartholomew Fayre. 2 The Staple of Newes. 3 The Divell is an Asse. London: printed [by John Beale, John Dawson, Bernard Alsop and Thomas Fawcet] for Richard Meighen [Thomas Walkley and Robert Allot], (1631–)1640 [i.e. 1641] 3 volumes in 2, folio (292 x 189 mm). Contemporary red morocco, the covers panelled with gilt rules, fleuron-tool cornerpieces, and large central tooled lozenges surrounding a horizontal panel, rebacked with original spines laid down, corners repaired, spines gilt in eight compartments, plain endpapers, gilt edges. Housed in a brown cloth flat-back box by the Chelsea Bindery. Vol. 1: engraved architectonic title-page by William Hole, engraved frontispiece portrait of Johnson by Robert Vaughan with verses beneath, section-titles for each of the component works; Vol. 2: general title-page with woodcut printer’s device (McKerrow 339), the three component plays with section-titles with woodcut printer’s device (McKerrow 374), woodcut initials and headpieces; Vol. 3 issued without general title-page, commencing with leaf signed B1 and caption-title for Christmas, his Masque, other component parts with section-titles. Armorial bookplate with press-mark D3–15 of Sarah Sophia Child Villiers, Countess of Jersey (1785–1867); recent bookplate of Robert S. Pirie. A little rubbed, occasional light browning, some scattered rust-spots and stains, including a small wax stain to frontispiece and title-page of vol. 1, upper fore-edge corner of general title-page vol. 2 lost; a notably handsome set, seldom found in contemporary morocco. first complete collected edition, comprising the second in 1631, which were edited by Jonson and intended to supplement edition of volume 1 and the first edition of volumes 2 and 3. The first his 1616 Workes. The balance of Volume 2 contains masques, plays, volume is a close reprint of the first edition of 1616. The second vol- and miscellaneous writings edited by Sir Kenelm Digby; it became ume contains the reissued, unsold sheets of three plays published known almost immediately as the “third volume,” despite the ab-

40 Peter Harrington from bookseller’s description neatly pasted to rear pastedown. Extremities rubbed, joints starting, endpapers a little browned from turn-ins and a few lower corners of pages tanned, very minor occasional spotting, else a bright, fresh copy. first edition of one of the most influential philosophy books ever published, the first version of the Critique of Pure Reason. “Kant’s great achievement was to conclude finally the lines on which phil- sence of an explicit title to that effect. The order of the contents of osophical speculation had proceeded in the eighteenth century, the third volume varies, but this copy follows Greg. and to open up a new and more comprehensive system of dealing Jonson’s original decision to publish his collected works and with the problems of philosophy. Of the two main systems which include plays, then generally regarded as an ephemeral form of lit- preceded his own, Kant had little or no sympathy with the meta- erature, broke new ground. Its publication in 1616, the very year of physical categorization of the Cartesians, and inclined more to the Shakespeare’s death, consolidated Jonson’s position as England’s empirical methods of Locke and Leibniz … The influence of Kant is foremost living author. The folio created a notion of authorial own- paramount in the critical method of modern philosophy. No other ership and identity that is recognizably modern, and it was to serve thinker has been able to hold with such firmness the balance be- as an important model for similar collected editions later in the tween speculative and empirical ideas. His penetrating analysis of century, not least the first Shakespeare folio of 1623. The expansion the elements involved in synthesis, and the subjective process by of Jonson’s works in this complete collected edition coincided with which these elements are realized in the individual consciousness, the span of production of the second Shakespeare folio, first pub- demonstrated the operation of ‘pure reason’; and the simplicity lished in 1632 and reissued in 1640, and kept Jonson in step with his and cogency of his arguments achieved immediate fame” (PMM). old friend and theatrical rival. From the library of Emanuel Stickelberger, who included a Greg III, pp. 1074, 1076; Pforzheimer 560; STC 14753, 14754. sketch of Kant’s life in his 1952 semi-fictional critical history, Dichter £42,500 [108347] im Alltag: Bilder zu einer unbekümmerten Literaturgeschichte. Adickes 46; Norman 1197; Printing and the Mind of Man 226; Warda 59. The first version of one of the most influential books of £35,000 [125333] Western philosophy ever published 38 KANT, Immanuel. Critik der reinen Vernunft. Riga: Johann Friedrich Hartknoch, 1781 Octavo (200 x 120 mm). Contemporary half calf, spine label lettered in black, compartments decoratively tooled with central floral motifs in blind, raised bands, sprinkled paper boards, edges red. Housed in a black quarter morocco solander box by the Chelsea Bindery. Woodcut title vignette, decorative woodcut head- and tailpieces, and initials. Bookplate of promi- nent Swiss collector Emanuel Stickelberger (1884–1962) to front pastedown, contemporary ownership inscriptions in ink to front free endpaper, small ink annotation to p. 379 (correcting “sceptisch” to “specifisch”), clipping

All items are fully described and photographed at peterharrington.co.uk 41 One of the glories of rococo book production, large-paper issue on thick holland paper, contemporary French red morocco 40 LA FONTAINE, Jean de. Fables choisies, mises en vers. Paris: Charles-Antoine Jombert for Desaint & Saillant and Durand, 1755–9 4 volumes, folio (468 x 317 mm). Contemporary French red morocco, titles in gilt to spines, raised bands, compartments with large gilt bouquet device surrounded by small tools, triple gilt fillet round sides, gilt turn-ins and edges, French curl motif-marbled endpapers. Engraved and etched frontispiece by Dupuis and Cochin after Jean-Baptiste Oudry, engraved portrait of Oudry by Tardieu after L’Argilliere, 275 plates after Oudry, engraved under Cochin’s direction by Elizabeth Cousinet, Baquoy, Legrand, Fessart, Lemire, Cochin himself and others, wood-engraved vignette on each title, wood-engraved head- and tailpieces by Papillon and Le Sueur after Bachelier. The first plate accompanying “Le Singe et le Leopard” (vol. III, facing p. 112) in the first state, with the banner unlettered. A trifle rubbed at extremities, very occasional faint foxing, but an excellent and very large copy in a fine contemporary binding. first edition, large-paper issue, and one of a small number printed on thick holland paper, of “one of the most ambitious and successful of all illustrated books” (Ray). Jean-Bap- tiste Oudry’s sketches for La Fontaine’s Fables were executed for his own enjoyment between 1729 and 1735. They were purchased by the publisher Montenault, who asked the finest engraver in France, Charles-Nicolas Cochin the Younger, to take charge of their trans- formation into finished prints. Cochin redrew the original designs, improving the figures and backgrounds and supplying precise lines for the engravers. The final result was thus their dual achievement. Oudry’s images were among the most influential of all contemporary artistic creations, inspiring imitations in media as varied as

First edition of Keats’s first book, in the original boards 39 KEATS, John. Poems. London: C. & J. Ollier, 1817 Octavo. Original light brown boards, printed paper label to spine. Housed in a green quarter morocco solander box by the Chelsea Bindery. With the half-title. Wood engraving of Edmund Spenser on title page. Spine darkened, light wear to spine and board edges, rear hinge cracked but holding, front joint and tail of spine professionally repaired. An excellent copy. first edition of Keats’s first book, in the original boards. Poems was published on 3 March 1817 by Charles and James Ollier, who were already publishing Shelley. The first of a mere three lifetime publications, it is a work of mainly youthful promise—Keats had appeared for the first time in print less than a year earlier, with a poem in the radical weekly The Examiner on 5 May 1816. The 1817 Poems attracted a few good reviews, but these were followed by the first of several harsh attacks by the influential Blackwood’s Magazine, mainly by critics who resented Keats’s avowed kinship with the despised Leigh Hunt. The best-known poem in the book is the sonnet “On first look- ing into Chapman’s Homer”, “by common consent one of its mas- terpieces in this form, having a close unsurpassed for the combined qualities of serenity and concentration” (Colvin), and described by ODNB as “an astonishing achievement, with a confident formal as- surance and metaphoric complexity which make it one of the finest English sonnets. As Hunt generously acknowledged, it ‘completely announced the new poet taking possession’” (ODNB). Ashley Library III, p. 9; Hayward 231; MacGillivray A1. £47,500 [113377]

42 Peter Harrington Beauvais tapestry, porcelain and furniture. A handsome set of one of the glories of rococo book production, ranking third in Ray’s 100 Outstanding French Illustrated Books, 1700–1914. With the contemporary ink ownership inscriptions of Robert Slade (d. 1835), an English lawyer (proctor at Doctors’ Commons) and depu- ty-lieutenant of Surrey. His son, Felix Slade (1788–1868), was a promi- nent philanthropist and founder of the Slade School of Art. Cohen/de Ricci 548–50; Ray, French, 5; Sander 1065. £37,500 [135957]

All items are fully described and photographed at peterharrington.co.uk 43 Lawrence of Arabia’s sumptuous, privately-printed by lawrence on p. XIX “Complete copy. 1.XII.26 TES”, with one account of his role in the Arab Revolt, one of 170 complete manuscript correction to the illustration list (a “K” identifying Kennington rather than Roberts as the artist responsible for “The copies offered for sale gad-fly”). This copy is in the usual state, with page XV mispaginated 41 as VIII and as often without the two Paul Nash illustrations called for on pages 92 and 208; nor does it have the Blair Hughes-Stanton LAWRENCE, T. E. Seven Pillars of Wisdom, a triumph. wood engraving illustrating the dedicatory poem found in only five [London: Privately printed by Manning Pike and H. J. Hodgson,] copies. However, it does include the “Prickly Pear” plate, not called 1926 for in the list of illustrations. Quarto (252 x 187 mm). Original dark green morocco by Roger de Coverly & O’Brien A040. Sons, title gilt to spine, five bands with five small gilt dots equally spaced, £65,000 [93169] double fillet panels to compartments, similar panels to boards with star and drawer-handle roundels to corners, lozenge centre-tool with writhen strap- work, single fillet gilt to board edges and turn-ins, pictorial endpapers after Kennington, top edge gilt, others uncut. Housed in a green quarter morocco book-style drop-back box, pale grey cloth, title gilt to spine, pale grey cloth chemise. 66 plates printed by Whittingham & Griggs, including frontispiece portrait of Feisal by Augustus John, many coloured or tinted, 4 of them double-page, by Eric Kennington, William Roberts, Augustus John, William Nicholson, Paul Nash and others, 4 folding colour-printed maps, that is 2 maps duplicated, rather than the 3 called for by O’Brien, laid down on linen, 58 illustrations in text, one coloured, by Roberts, Nash, Kennington, Blair Hughes-Stanton, Gertrude Hermes and others. Historiated initials by Ed- ward Wadsworth printed in red and black. Very light shelf-wear, headcap just slightly pulled, frontispiece map a touch rolled at fore-edge, internally very clean and fresh, only the occasional leaf with a pale hint of foxing, overall an extremely bright copy in a very attractive binding. one of the cranwell or “subscriber’s” edition of 211 copies, this one of 170 designated complete copies, inscribed

44 Peter Harrington The first edition of the first collection of Mao’s writings, newsprint (all quite primitive) set up in mountain areas, where the printed in wartime on newspaper presses behind enemy ‘guerrilla publishers’ were likely to pass through” (Cheek, pp. 74–6). Printed in a run of 2,500 copies, such a fragile production is a notably lines rare survival: no copies are recorded at auction; just four locations in 42 WorldCat (one in Japan; three in the US). It ran to five editions between 1944 and 1948. Following the MAO ZEDONG. Xuan Ji (Selected Works). Compiled and liberation of Peking in 1949, an official Chinese version was sub- printed by Jin Cha Ji Daily Newspaper. Distributed by Jin sequently compiled, the first volume of which was published in Cha Ji Xin Hua Bookstore, May 1944 October 1951. “The Selected Works has a special status among all of Together 5 volumes, small octavo. Original cream wrappers, titles to spines Mao’s writings, which is largely due to its massive publication and and front covers printed in red. Each volumes in a red cloth chemise and extremely wide circulation … For a time it was almost Mao’s only housed together in a custom red quarter morocco solander box by the work available to most of the Chinese people” (Pellatt, p. 34–5). Chelsea Bindery. Portrait frontispieces to each volume, title page, and colo- Timothy Cheek, Propaganda and Culture in Mao’s China: Deng Tuo and the Intelligentsia, phon. In one volume, the title has failed to print. Some loss or old repairs to Clarendon Press: 1997; Patricia Stranahan, Moulding the Medium: Chinese Communist spines, one restored front wrapper, wrappers somewhat soiled and marked, Party and the “Liberation Daily”, Routledge, 2016. contents toned with the occasional small mark. Withal, a remarkable survival of this vulnerable and rare publication. £75,000 [130907] first edition of the first collection of Mao’s writings, rarely found complete in five volumes. This edition was selected from the writings, lectures, and recorded speeches of Mao Zedong (1893–1976) by Deng Tuo, the editor of the Jin-Cha-Ji Daily newspaper (originally Resistance News, renamed in 1940). Deng Tuo (c.1911–1966), who wrote the anonymous Editor’s Preface, was given the responsibility of compiling and editing, following Central Party directives that Mao Zedong’s writings be systematically published. The Selected Works was printed during the Second Sino-Japanese War on the newspaper presses of the Jin-Cha-Ji Daily. “Published behind Japanese lines, the newspaper’s goal was to give more power to the peasantry and to disenfranchise the local elite … Technical problems in publishing the newspaper alone were enormous” (Strana- han). The quality of both paper and craftsmanship of these volumes is consequently not high. Supplies for the newspaper were scarce: the staff had to cope with paper shortages and the problems of find- ing presses and type. They also had to be responsive to Japanese attacks, forcing the paper to move location regularly. “The Jin Cha Ji journalists took a practical approach, based on their limited resourc- es. Together with the print shop workers they devised a way to break the press down into portable sections that could be transported on three horses. Due to a shortage of type, they settled on a 3,000-word vocabulary limit for all stories, which was also in line with the Party calls to make papers readily understandable to the newly literate. Fi- nally, the paper had three foundries for type and paper factories for

All items are fully described and photographed at peterharrington.co.uk 45 First edition, inscribed to César De Paepe, the leader of the International Workingmen’s Association in Belgium, who helped endorse Marxism as the dominant theory of international socialism 43 MARX, Karl. Das Kapital. Hamburg: Otto Meissner, 1867 Octavo. Contemporary half calf with gilt-stamped spine title and marbled covers. Housed in a red quarter morocco solander box by the Chelsea Bind- ery. Light toning throughout, with the odd brown stain near the beginning, a tiny tear to the top edge of p. 353, but generally very well-preserved. first edition, presentation copy, inscribed not quite a year after publication on the verso of the title, “Au citoyen César de Paepe, salut fraternel, Karl Marx, Londres 3 Septembre 1868”, and with one small pencil correction to the text, also presumably by Marx. The Belgian César De Paepe (1841–1890) was the leader of the International Working Men’s Association (IWMA), the First International, in Belgium. De Paepe is considered, with Mikhail Marx could not attend, but hoped to pull strings from London. Bakunin, the co-founder of collectivist anarchism, the theory of De Paepe was the principal leader of the Collectivist faction Marx which they formulated independently of each other in 1866. De himself favoured. Marx managed to sideline Proudhon’s theory and Paepe was an early disciple of Proudhon, but he often gravitated induce delegates to accept several contentious resolutions confirm- toward Marx’s positions and was counted second only to Marx as a ing the advantages of collective, socialist ownership of land and of theoretician of the IWMA. the means of production. Extracts from the machinery chapter of On 3 September 1868 Marx had a pressing reason to remind Das Kapital were read at the Congress (it is not too far-fetched to De Paepe of his friendship. Three days later, on 6 September, the imagine it may have been from this very volume), and these quota- Brussels Congress of the First International was to begin, at which tions provided the theoretical basis for the resolution condemning the conflict with the French Proudhonists would come to a head. the extortionist use of machinery by the capitalist class. Notably,

46 Peter Harrington the General Council also passed a resolution recommending that working men in all countries study Marx’s Kapital. Very few presentation copies of the first edition ofDas Kapital are known to have survived. Most of these were inscribed by Marx on 18 September 1867 in London, when the first batch, published four days previously, arrived from Hamburg. In this copy a correction, presumably marked by Marx himself and also appearing in one other presentation copy, is on page XII of the Preface, where “transat- lantischen Oceans” has “trans” crossed through. In the inscription here Marx first wrote “avec les compliments de Karl Marx” before apparently thinking better of such a bland inscription. As the iron gall ink had not yet settled and oxidized, the erased area must have appeared much fainter at the time of re-inscribing, when Marx wrote across the slightly smudged area (which has since darkened) his more cordial “brotherly greeting”. Hailed as one of “the most influential pieces of writing in world history” (International Institute of Social History in Amsterdam), Das Kapital was the culmination of Marx’s many years’ work in the British Museum. This first volume was the only one published during Marx’s lifetime, the later volumes, edited by Engels from the author’s manuscript, appearing in 1885 and 1894. Marx’s own annotated copy, along with the only surviving handwritten page of the Communist Manifesto, was entered on the prestigious UNESCO “Memory of the World Register” in 2013. Die Erstdrucke der Werke von Marx und Engels, p. 32; Printing and the Mind of Man 359; Rubel 633. £500,000 [116802]

The first publication of the foreword, and the first printing of the title “Das Kommunistische Manifest” 44 MARX, Karl, & Friedrich Engels. Das kommunistische Manifest. Neue Ausgabe mit einem Vorwort der wish to prepare a revised edition with an introduction bridging the Verfasser. Leipzig: Verlag der Expedition des “Volksstaat” [Druck historical development since the first edition of 1848. Despite their von Fr. Thiele], 1872 plans, the preface remained unchanged for many subsequent edi- Small octavo (176 x 109 mm), pp. 27. Original printed wrappers with green tions. The Liebknecht text is especially notable for being the first backstrip, sewn. Housed in a custom red morocco folding case. Ownership edition to appear under the shorter title. This proved to be a histor- inscription, “Georg Vogel, cand. phil. Würzburg” to front wrapper in ink, a ic change and helped to draw the pamphlet out of the obscurity it few very faint pencil marks. A number of discreet repairs using Japanese tis- had fallen into during the 1850s and 60s. sue, overall browned and creased with some staining, else a very good copy. Due to censorship—and fear of another treason trial—the very rare first liebknecht edition, marking a pivotal mo- Liebknecht Manifesto could not be advertised publicly, and very few ment in the Communist Manifesto’s publishing history, containing copies of the small print-run were distributed. “The offprint edi- the first publication of the new preface by Marx and Engels and the tion—which is historically labelled the 1872 edition—was actually first appearance in print of the now canonical title Das kommunis- produced in only a few copies plus a batch of a hundred sent to En- tische Manifest, adapted from its earlier iteration, Manifest der kom- gels himself … Engels sent copies of this edition around Europe, in munistischen Partei. Notably scarce, it is recorded as having appeared response to requests, as a model for foreign editions and reprints. only once at auction (Galerie Bassenge, 2011) and OCLC locates just Thus this ghost-edition became the progenitor of many real ones” eleven copies in institutions worldwide (four in Germany, three (Draper, The Marx–Engels Chronicle, pp. 179–80, 34). in Switzerland, two in the US, and one apiece in Poland and the Andréas, Le Manifeste Communiste 72; Die Erstdrucke der Werke von Marx und Engels, p. Netherlands). 14; Draper ST/ME29a; Rubel 712. In March 1872 the Manifesto was read into the official court records as evidence during leading social democrats Wilhelm Lieb- £25,000 [125973] knecht and August Bebel’s treason trial in Leipzig, rendering it le- gally publishable in Germany for the first time (the first edition had been published in London in 1848). Over the next few months the party arranged for the trial record to appear in serial fascicules, with the Manifesto appearing in the third and final fascicule in mid-June. However, it was only in the offprint edition published by Liebkne- cht’s Volkstaat press (of which this present copy is an example) that the new June 24 preface by Marx and Engels was printed, with an additional title page. In the preface Marx and Engels express their

All items are fully described and photographed at peterharrington.co.uk 47 A classic of social science, and an important and and safeguards for personal liberty—Montesquieu’s treatise es- influential work in constitutional theory tablished on a secular, rational basis the revolutionary idea of the separation of powers and a system of checks and balances, a system 45 eventually implemented by America’s “founding fathers” in the US Constitution. Indeed, Donald Lutz places Montesquieu as the sec- [MONTESQUIEU, Charles Louis de Secondat, Baron ond most cited thinker, behind only St Paul, and ahead of Black- de.] De l’Esprit des loix. Geneva: chez Barrillot & Fils, [1748] stone, Locke, and Hume (Lutz, “European Works Read and Cited 2 volumes, quarto (249 x 186 mm). Contemporary mottled calf, red morocco by the American Founding Generation”, in A Preface to American labels, spines gilt to compartments, gilt floral roll border to covers, mar- Political Theory, 1992). Three of the other great political texts of bled endpapers, red speckled edges. Neat 18th-century notations to front the next hundred years—Blackstone’s Commentaries, Hamilton’s Fed- free endpaper of vol. I. Lightly refurbished with gilt and colour retouched, eralist Papers, and Tocqueville’s Democracy in America—are each thor- very minor craquelure to calf with faint crease to spine of vol. II, some light toning and faint foxing to contents, a few instances of light staining and oughly imbued with Montesquieu’s theories. creasing; half-titles and errata present (the latter bound between vol. I sigs. From the library of Charles-Auguste Le Quien de La Neufville c4 and A1). A very appealing copy. (1726–1805), with his stylish armorial bookplate to the front paste- first edition of this classic of social science, “one of the most down of vol. I. Le Quien was appointed bishop of Dax in 1771 (his remarkable works of the eighteenth century” (PMM), very rare bookplate displays the mitre and crozier) and held that office until it complete with the errata in the final state. Several emendations was suppressed by the Civil Constitution of the Clergy in 1791; he then were made to the text after some copies had been issued, including became an émigré, returning after the Concordat of 1801, and was of- cancelling certain leaves which had risky statements on monarchy, fered the bishopric of Poitiers, which he declined on grounds of age on Richelieu, and on the government of the Netherlands. This copy and poor health. It is interesting that the bishop should have the book has most of the cancels outlined by Tchemerzine, and has the erra- in his library, despite its having been placed on the Index in 1751. ta leaves in the final state with 47 corrections. A counterfeit—and Barbier II, p. 190; Books That Made Europe p. 130; En français dans le texte 138; more common—edition was produced in Paris in 1749, but the Goldsmiths’ 8375; Kress 4920; Printing and the Mind of Man 197; Tchemerzine IV, p. 929. present first edition can be distinguished by the spelling of “Bar- rillot” in the imprint. £32,500 [131773] Montesquieu began work on his magnum opus in 1734, and took 15 years to finish. The book is in six sections: the first dealing with law in general and the different forms of government, the second with the means of government, the third with climate and the effect on national character, the fourth and fifth with economic matters and religion, and the sixth with Roman, feudal, and contemporary French law. Though not the most radical of Enlightenment texts— leaning overall to a liberal monarchy limited by institutions, law,

48 Peter Harrington Newton’s great work on the physical properties of light a given transparent medium. “Newton’s Opticks did for light what his Principia had done for gravitation, namely place it on a scientific 46 basis” (D. W. Brown, cited in Babson). [NEWTON, Isaac.] Opticks: or, A Treatise of the Babson 132 (1); ESTC T82019; Gray 174; Horblit 79b; Norman 1588; Printing and the Reflexions, Refractions, Inflexions, and Colours of Light. Mind of Man 172. London: Printed for Sam Smith, and Benj. Walford, Printers to the £95,000 [132039] Royal Society, 1704 Quarto (245 x 191 mm). Contemporary panelled calf, spine gilt in compartments, red morocco label. Housed in custom brown morocco-backed slipcase and chemise. With 19 folding plates, title printed in red and black with double ruled border. Neat restoration to extremities, one plate dust-soiled at outer edge, an excellent copy, the paper clean and fresh. first edition, first issue, without Newton’s name on the title. Newton’s Opticks expounds his corpuscular or emission theory of light, and first contains his important optical discoveries in collected form. It also prints two important mathematical treatises (published here for the first time but omitted in later editions) describ- ing his invention of the fluxional calculus, which are the grounds for his claim for priority over Leibniz. Newton had arrived at most of his unconventional ideas on colour by about 1668; but when he first expressed them (tersely and partially) in public in 1672 and 1675, they had provoked hostile criticism, especially on the continent. The publication of Opticks, largely written by 1692, was held over by Newton until his most vociferous critics—especially Robert Hooke—were dead and, un- usually for him, was first published in English, perhaps a further defensive measure. Nevertheless, Opticks established itself, from about 1715, as a model of the interweaving of theory with quanti- tative experimentation. The great achievement of the work was to show that colour was a mathematically definable property. Newton showed that white light was a mixture of infinitely varied coloured rays (manifest in the rainbow and the spectrum), each ray definable by the angle through which it is refracted on entering or leaving

All items are fully described and photographed at peterharrington.co.uk 49 A foundational study of early Arabic poetry, from the Samuel Barrett Miles (1838–1914), with a printed bookplate noting library of the British Arabist Colonel S. B. Miles his widow’s bequest of his books to Bath Public Library in 1920, and associated manuscript shelf-marks and blind-stamps as usu- 47 al. Nöldeke worked almost entirely from unpublished manuscripts holdings in the libraries of Berlin, Gotha, and Leiden. His account NÖLDEKE, Theodor. Beiträge zur Kenntniss der Poesie discusses the Mu’allaqat, the Lamiyat al-’Arab of al-Shanfarah, Ibn der Alten Araber. Hannover: Carl Rümpler, 1864 Qutaybah’s Tabaqat al-Shu’ara’, and works by lesser-known figures Octavo. Original buff paper wrappers printed in black, edges untrimmed. such as Arabian Jews and Mutammim ibn Nuwayrah, many of Frequent Arabic types. Wrappers marked and with a few expertly repaired which are printed in the original Arabic. Nöldeke (1836–1930) was tears, occasional pale spotting, a few gatherings loose (apparently never one of the greatest Semitists of the 19th century. He also wrote a bound in), and several unopened. A very good copy. highly influential study of the Qur’an, and numerous grammars. first edition of this foundational study of early Arabic poetry, One of his main theses was that much early Arabic poetry was in from the collection of British Arabist and colonial agent Colonel fact written at a later date. £1,250 [94079]

One of 40 sets specially bound for presentation of Owen’s famous series of essays on educational reform and the influence of social environment on character, outlining his vision of the ideal community 48 OWEN, Robert. A New View of Society: or, Essays on the Principle of the Formation of the Human Character, and the Application of the Principle to Practice. London: printed for Cadell and Davies by Richard Taylor and Co. (part I); for Cadell and Davies, and Murray by Richard and Arthur Taylor (part II); printed by Richard and Arthur Taylor … Not Published (parts III & IV), 1813–14

50 Peter Harrington 4 parts bound in one octavo volume (230 x 145 mm). Contemporary dark blue straight-grain morocco, spine lettered and decorated in gilt to compartments, raised bands, boards with gilt roll and palmette borders, watered pink silk doublures and endpapers, inner dentelles and edges gilt. Housed in a dark blue quarter morocco solander box by the Chelsea Bindery. Extrem- ities and boards expertly refurbished with a few tiny abrasions to joints, the contents crisp and clean, a fresh, wide-margined copy. first edition, one of 40 specially bound presentation sets printed on thick paper, parts III & IV “Not published”, inscribed “From the Author” on the first blank. Edouard Dolléans states that just 40 copies of A New View of Society were bound for presentation (Dolléans, Owen, p. 145f ). Fourth Essay contains proposals at national level, including a uni- A New View of Society is “Owen’s first and most important pub- versal state educational system, a Ministry of Education, colleges lished work, containing the principles upon which he based his for training teachers, a system of state-aided public works, and the educational and social reforms at New Lanark, an account of their gradual abolition of the poor laws. application there, and an outline of the means by which his theories Carpenter XXXIV (1); Foxwell, p. 15; Goldsmiths’ 20854; Goldsmiths’ Owen might be applied to the nation as a whole. The first Essay … [ded- Exhibition 29; Harrison, p. 271; Kress B.6195; NLW 2–5; Printing and the Mind of icated to Wilberforce] was written in 1812 and published [anony- Man 271. mously], after it had been submitted to Francis Place for revision … The second Essay was published in the same year, the third and £87,500 [130529] fourth were privately printed and circulated during 1814, not being published until two years later” (Goldsmiths’ Owen Exhibition). It is considered “the first practical statement of socialist doctrine” (PMM). The work states clearly Owen’s view of social development, stressing his egalitarian educational doctrine. At the New Lanark industrial settlement Owen erected a large new building, the “Insti- tute for the Formation of Character”, which was to contain public halls, community rooms and above all schools for the children at work in the factory, and with a nursery school (what Owen called a “playground”). The educational work at New Lanark for many years excited the admiration of visitors from all over the world. The

All items are fully described and photographed at peterharrington.co.uk 51 The long-delayed first publication of Pepys’s diary, a key first edition of pepys’s diary, a key historical record of Resto- historical record of Restoration London ration London, which remained unprinted for more than 150 years after its original composition. The text was painstakingly deci- 49 phered from Pepys’s shorthand by a penniless student who did not realise that the manual for the system, Thomas Shelton’s Tutor to PEPYS, Samuel. Memoirs. London: Henry Colburn, 1825 Tachygraphy (1642), was easily accessible in his own college library. 2 volumes, large quarto. Uncut in original drab paper boards, printed pa- Pepys’s diary is the chief source for our knowledge of day-to-day per labels to spines. Each volume housed in a custom blue cloth solander life in Restoration London, but it is much more than just a record box with gilt-lettered spine. Engraved portrait frontispiece after Godfrey Kneller, 12 plates including portraits, genealogies, facsimiles and views, of of quotidian life: “As a diarist he is simply the best there was, with which one double-page, all with tissue-guards; engraved vignette portrait to the good fortune to be close to the centre of momentous events” volume 1 p. xv, similar vignette of the “Loving Cup” to p. xlii. Volume 1: c20 (ODNB). book-label of collector Perry Molstad to front pastedown, joints cracked but holding, small mark to front board, pale spotting to sigs. C–3N and a few £7,500 [116143] small nicks and chips to edges, as usual in untrimmed books, slightly longer closed tear to fore edge of sig. 2N2, the text unaffected, sig. b4 browned in fore margin, the vignette spared, small mark to lower margin of Index p. xxii. Volume 2: contemporary ownership inscription of ?William Beebey to front pastedown, covers slightly marked overall, extremities rubbed, tips lightly bumped, superficial splitting to front joint, p. 282 very slightly marked, else internally clean. Box joints split and frayed. Withal a very good copy, entirely unrestored in its original binding.

52 Peter Harrington The first English translation of the complete works of Plato by Taylor’s translation and commentary, though Coleridge’s ap- preciation of Taylor is invariably laced with acid criticism. Taylor’s 50 immediate influence in England was short-lived; only at the end of PLATO. The Works. London: printed for Thomas Taylor, by R. the century did those with an enthusiasm for ancient Gnosticism, Wilks, and sold by E. Jeffery and R. H. Evans, 1804 such as G. R. S. Mead, revive his memory. His fate in America was very different. R. W. Emerson read Taylor’s translations enthusias- Five volumes, quarto (295 x 230 mm). Recent full speckled calf, boards with tically, and Taylor’s influence was felt among Emerson’s disciples, two double-line gilt rule borders and a single line border in black, spines decorated gilt in compartments, direct lettered and numbered gilt, marbled adepts of ‘transcendental philosophy’ such as Amos Bronson Al- endpapers and edges, blue silk ribbon place markers. Engraved plate of ge- cott, William T. Harris, Thomas M. Johnson, Hiram K. Jones, and ometrical figures in vol. I, errata leaf in vol. III. Occasional light spotting and Thomas Wentworth Higginson, though that influence had waned the odd marginal stain, short tear to one leaf in vols. II and V; an excellent by the end of the century. Emily Dickinson, who was a friend of set. Higginson, therefore probably owed her Platonism ultimately to first edition of the philosopher Thomas Taylor’s masterful Thomas Taylor” (ODNB). translation of Plato, the first English translation of the complete Lowndes 1877. works of Plato, revising and completing the work begun by Floy- £11,000 [109979] er Sydenham, together with his extensive notes on contemporary Greek manuscript commentaries. “It was through Taylor’s translations that the Romantic poets had access to Platonism: they are probably one of the sources of Blake’s mythology, as well as his re- pudiation of the natural science of Bacon and Newton …; there is no doubt that Coleridge’s acquaintance with Proclus was assisted

All items are fully described and photographed at peterharrington.co.uk 53 the natural world had already had a great indirect influence in Eng- land, as elsewhere in Europe, but had not been translated into Eng- lish before, and would not be again for 250 years. Indeed, after four First edition in English, in contemporary red morocco, centuries, Holland is still the only translator of this work to attempt to evoke its literary richness and beauty” (ODNB). including the most detailed account from the classical era The work was used as a source by Shakespeare for Othello and of the coast of the UAE King Lear. “The importance of Pliny lay not so much that he was an inexhaustible source for monsters, eclipses, and the stranger habits 51 of all created things, but that in the pages of Philemon Holland’s PLINIUS SECUNDUS, Gaius; Philemon Holland translation Shakespeare found that emphasis on Nature which he (trans.) The Historie of the World. Commonly called, the employed and re-interpreted in the tragedy” (Evans, The Language Naturall Historie. London: printed by Adam Islip, 1601 of Shakespeare’s Plays). Pliny also gives by far the most detailed account of the coast of 2 volumes, folio (318 x 210 mm). Contemporary red morocco, spines richly the United Arab Emirates that has come down to us from the clas- gilt, black morocco labels, sides with gilt-ruled border and frame with gilt- stamped floral motifs at outer corners, gilt edges. Housed in a burgundy sical era. Book 6, chapter 28, beginning near the Qatar peninsula, cloth flat-back box by the Chelsea Bindery. Titles with woodcut allegorical proceeds to describe the Emirates islands, tribes, and coast right up device, woodcut head- and tailpieces, decorative initials, last leaf with errata to the Musandam peninsula, before continuing on south along the on recto and colophon on verso. Bookplates of the notable book collector coast of Oman. As such, it is a mine of invaluable information on John Dunn Gardner (1811–1903; known as John Townshend until 1843 and the UAE in the late pre-Islamic era. Pliny “completed his ‘Natural sometimes styled “Earl of Leicester”); the monogram bookplate of “DHP”; History’ in 77 ce and, to judge from his account of the peoples and bookplate of the lawyer, banker and bibliophile Robert S. Pirie (1934–2015), places of south-eastern Arabia . . . , the area of the UAE was full of acquired by him from Seven Gables book shop. Front joints cracking at ends and with old superficial repairs, first headcap chipped, a few abrasions and settlements, tribes, and physical features, the names of which he small stains on covers, minor marginal soiling with an occasional marginal recorded for posterity” (Ghareeb/Al Abed 54). spot, light dampstain in fore-margins of vol. 2 slightly affecting text, lacking Pforzheimer 496; STC 20029. first blank leaf in each volume, remains a most attractive copy in contemporary red morocco. £17,500 [108327] first edition in english, first issue, with the Islip imprint. Of this translation, Lowndes says “A work of immense labour, and what few men of his time could have executed in a superior manner to Dr Holland.” “This encyclopaedia of ancient knowledge about

54 Peter Harrington Arabic astrology taken west (c.988-c.1061; known in the west as Haly, or Haly Abenrudian). The work is divided into four books: the first is a defence of astrology 52 and technical concepts, the second deals with the influences on PTOLEMAEUS, Claudius. Quadripartitum, translated earth (including astrological geography and weather prediction), by Plato Tiburtinus; [with:] Centiloquium, translated and the third and fourth discuss the influences on individuals. The present copy confirms to the second copy mentioned in BMC, with by Johannes Hispalensis. Venice: Erhardt Ratdolt, 15 January the impression of two headings from a law book printed in red on 1484 the lower half on verso of the last page. Quarto (231 x 161 mm). Dark brown morocco by Brugalla, 1952, tooled in gilt The Centiloquium, a collection of 100 aphorisms about astrolo- and blind, gilt turn-ins, gilt edges, slipcase. Collation: a-g8 h12 (a1r blank, gy and astrological rules, has a commentary by Ahmad ibn Yusuf a1v astrological diagram, a2r text, h12r colophon, h12v blank). 68 leaves. 42 al-Misri (835–912; known in the West by his Latinized name Hame- lines, double column. Types: 4:76G; 6:56(75)G. Woodcut diagram on a1v and tus, though often confounded with Haly), and many scholars be- a8v, incipit printed in red, woodcut initials, a few partly coloured or outlined in red, chapter headings of leaves a2r-b3r and f6v-end rubricated, the Cen- lieve that he was in fact its true author. It was translated from Ara- tiloquium numbered and with occasional annotations. Provenance: several bic to Latin by John of Seville. early marginal manuscript annotations and underlining in the text in red ink The elegant layout of this first Latin edition is characteristic of (from f6v until the end); Johannes Albini, medical student “Acrocrenopoli- the work of Erhard Ratdolt (1442–1528), who printed a number of tani” (scored, faded early manuscript inscription on a1r); Johannes Pesthius important works at Venice based on Arabic materials, including the (faded manuscript inscription below); the Spanish collector Gabriel Moli- first edition of Euclid’s Elements (1482), where he solved the problem na (bookplate on pastedown); sold, Sotheby’s 17 November 1988, lot 131 to of printing geometric diagrams, the Poeticon astronomicon, also from Quaritch. Occasional light finger soiling, wire on the press bed in f7v affect- 1482, Haly Abenragel (1485), and Alchabitius (1503). He was active ing a few letters, slipcase spine lightly rubbed, very good. as a printer in Venice from 1476 to 1486, and afterwards in his native first edition in latin. Ptolemy’s treatise on astrology, the Augsburg. Tetrabiblos, was the most popular astrological work of antiquity and H *13543; GW M36411; BMC V 288; BSB-Ink P–862; Klebs 814.1; Polain (B) 3284; also enjoyed great influence in the Islamic world and the medie- Redgrave 40; Essling 313; Sander 5980; Proctor 4394; Goff P–1088. val Latin West. The translation was made from Arabic to Latin in 1138 by Plato of Tivoli, the 12th-century Italian mathematician, as- £47,500 [119247] tronomer and translator who lived in Barcelona from 1116 to 1138. It has a commentary by Ali ibn Ridwan ibn Ali ibn Ja’far al-Misri

All items are fully described and photographed at peterharrington.co.uk 55 The largest book seen through the English press at the with no loss), small hole in 8P3; volume 4, repaired closed-tear at lower margin of 5V6, paper flaw at lower fore-corner of 6C3 and lower edge of 7D6, time, a collection that remains an indispensable resource printing flaw at edge of map of England (8B2 verso), faint dampstaining and a small stain on double-page map of China. A very good set, with the blank 53 leaf R4 in volume 1 (frequently wanting). PURCHAS, Samuel. Purchas his Pilgrimes; [together first edition of Purchas his Pilgrimes, with the preferred fourth with:] Purchas his Pilgrimage. London: William Stansby for edition of the Pilgrimage; together this is the desired state of the Henrie Fetherstone, 1625–6 complete set of Purchas’s important collection of travel and explo- Together 5 volumes (the supplemental Pilgrimage comprising the fifth vol- ration narratives from ancient times up to and including the recent ume), folio (330 x 207 mm). Uniformly bound in mid–18th-century calf, re- accounts of Virginia by John Smith. backed with original decorative gilt spines laid down, red and green moroc- The Pilgrimes was conceived as a continuation of Hakluyt, based co labels, blind roll-tool border on sides, marbled edges and endpapers. En- in part on Hakluyt’s remaining manuscripts, which Purchas had graved additional title to vol. I (second issue, dated 1625; usually absent), 88 acquired about 1620, augmented by almost 20 years’ collecting engraved maps (7 double-page or folding: the Virginia map in volume IV in oral and written accounts of travels in Europe, Asia, Africa, and Verner’s state 7, that of China in volume III loosely inserted and on a slightly the Americas. The four-volume folio took more than three years to smaller sheet; 81 half-page in the text), plus the additional double-hemi- sphere map tipped in at p. 65 in volume 1 (see Sabin, p. 118), numerous illus- print; at the time of its publication it was the largest book ever seen trations, mostly woodcut, but some engraved. Late 17th-century ownership through the English press. “Unlike Hakluyt, Purchas attempted to inscriptions of “Rob. Williams his booke” on title pages of vols. II and III; construct an argument upon geographical and historical evidence engraved armorial bookplates of Sir Charles Tennant (1823–1906), industri- that was cosmopolitan, pan-European, global, and transhistor- alist, who amassed a notable library at his Scottish Borders estate, The Glen, ical … John Locke even-handedly advised in 1703 that for ‘books Peeblesshire. Bindings professionally refurbished, a few light abrasions and of travel … the collections made by our countrymen, Hakluyt and shallow scratches, occasional light browning, a few marginal tears, some Purchas, are very good’” (ODNB). “Today, Pilgrimes remains an in- light offsetting of engraving onto letterpress, a few natural flaws and rust- dispensable resource for geographers, anthropologists, and histo- holes, and the following minor defects: volume 1, H1 lower fore-corner torn away without loss of text, closed-tear in 2C4, old splash marks on 4Q2 (recto rians alike” (James William Kelly in Speake ed., Literature of Travel and verso); volume 2, old repaired tear at inner corner of 4Y just touching and Exploration, p. 985). edge of map of Barbaria and Egypt, paper flaw at upper fore-corner of 6F2, In this set Pilgrimes has the engraved title page (often lacking) paper flaw at fore-edge of 6H frayed with very minor loss to map of “Terra dated 1625, the map of Virginia in vol. IV in the 10th state according Sancta” on verso, map of Germany (6L3 verso) just shaved to neat line along to Burden, with the whole engraved area present (often trimmed outer edge, closed-tear in 6Y along lower platemark of map of Europe (but with loss). Pilgrimage, fourth edition, issued concurrently as a

56 Peter Harrington supplement, is the usual issue with the first quire reset, the title beginning “Purchas” (the other setting has “Purchase”), and the added dedication to King Charles. First published in 1613, the Pil- grimage gives Purchas’s account of the various religions encountered throughout the world. Alden & Landis 625/173; Borba de Moraes II, pp. 692–3; Church 401A; Hill 1403; Sabin 66682–6; STC 20509 & 20508.5. £125,000 [120132]

All items are fully described and photographed at peterharrington.co.uk 57 58 Peter Harrington Original watercolour for A Midsummer Night’s Dream The classic American novel of teenage alienation, in the 54 dust jacket RACKHAM, Arthur. “—down topples she.” 1908 55 Ink and watercolour on card (175 x 240 mm). Signed and dated by the artist at SALINGER, J. D. The Catcher in the Rye. Boston: Little, the upper right-hand corner, with his caption outside the margin on the bot- Brown and Company, 1951 tom left. Glue residue to edges from previous framing, sometime removed. Very good condition. Mounted and framed with UV acrylic (590 x 490 mm). Octavo. Original black cloth, spine lettered in gilt. With the dust jacket. Housed in a red quarter morocco solander box by the Chelsea Bindery. Very An original watercolour by Rackham for the 1908 edition of A Mid- faint splash and finger marks to cloth; a fresh near-fine copy in the uncom- summer Night’s Dream, signed and dated by the artist at the upper monly nice jacket, spine panel a little toned but still notably bright, short right-hand corner, with his caption outside the margin on the bot- closed tear to foot of front panel, spine ends and tips a little rubbed and tom left. Beginning in 1905 withRip Van Winkle, Rackham settled nicked. into a pattern in which late-autumn publication of the year’s book first edition, first printing, in a notably bright example of the coincided with an exhibition at the Leicester Galleries, London, of eye-catching jacket designed by Michael Mitchell. its original illustrations for sale. This illustration depicts a passage from Act II, Scene 1, in which Puck recounts a trick he plays on £15,000 [127528] human-folk, disguising himself as a chair only to vanish when sat upon. It appears on page 27 of the published work as a full-page line drawing. £15,000 [130494]

All items are fully described and photographed at peterharrington.co.uk 59 The celebrated Nuremberg Chronicle, the most extensively illustrated book of the 15th century 56 SCHEDEL, Hartmann. Liber chronicarum. Nuremberg: by Anton Koberger, for Sebald Schreyer and Sebastian Kammermeister, 1493 Imperial folio (444 x 310 mm), 325 leaves (of 326; without final blank). Con- temporary German dyed-brown pigskin blind-tooled in a panel design with three frames filled with floral and scrollwork roll-tools, central panel with floral stamps; edges sprinkled blue, neatly mounted on later boards. Housed in a brown quarter morocco solander box by the Chelsea Bindery. 63 lines plus headline, Gothic letter, xylographic title-page, 645 woodcut illustrations by Pleydenwurff and Wohlgemuth repeated to a total of 1,809, some full-page, others double-page, including a double-page map of the world showing the Gulf of Guinea discovered by the Portuguese in 1470, and double-page map of northern and central Europe by Hieronymus Münzer. With the inscription on title of Johan Divel dated 1547 recording its gift from the estate of Herwart[?] of the canons of St Blasius in Brunschweig; small library stamp with crown and phrase “Karl ProPr” on title; posthumous bookplate of noted American bibliophile Robert S. Pirie laid in. Some contemporary sidenotes or captions identifying cities. Later spine worn, head and foot of spine chipped, corners mended; clean marginal tears mended in leaves 12, 56, & 291, small marginal smudges and spots, light browning within text block in leaves 172–182, 217, 250, dampstain in lower outer corner of last 16 leaves, a few tiny mends at lower edge of last leaf; overall, a very good copy. first edition of the Nuremberg Chronicle, the most extensively illustrated book of the 15th century, a universally acknowledged masterpiece of complex design. Compiled by the Nuremberg physician, humanist and bibliophile Hartmann Schedel (1440–1514), the text is a year-by-year account of notable events in world history from the creation to the year of publication, including the inven- ographical and historical information on European countries and tion of printing at Mainz, the exploration of the Atlantic and of towns. The colophon on 266r marks the completion of the work Africa, as well as references to the game of chess and to medical of Hartmann Schedel; George Alt, a scribe at Nuremberg treasury curiosities, including what is believed to be the first depiction of who made the German translation, is the author of the remainder Siamese twins. Drawn by the author from multiple medieval and of the text. Renaissance sources, such as Bede, Vincent of Beauvais, Martin of The book is especially famed for its series of over 1,800 wood- Tropau, Flavius Blondus, Bartolomeo Platina, and Philippus de Ber- cuts depicting biblical subjects, classical and medieval history, and gamo (Iacopo Filippo Foresta), the Chronicle also incorporates ge- a large series of city views in Europe and the Middle East—Augs-

60 Peter Harrington burg, Bamberg, Basel, Cologne, Nuremberg, Rome, Ulm and Vi- that followed closely afterwards. The Latin edition was printed in enna among them, also Jerusalem (and its destruction) and Byz- Koberger’s shop between May 1492 and October 1493. Wilson, The antium. The double-page map of Europe includes the British Isles, Making of the Nuremberg Chronicle (1976), approves Dr Peter Zahn’s Iceland and Scandinavia, and the Ptolemaic world map is apparent- count of probably 1,500 Latin copies printed, of which approxi- ly sourced from the frontispiece of Pomponius Mela’s Cosmographia mately 1,240 have survived. (Venice, Ratdolt, 1488). HC 14508*; BMC II 437; Klebs 889.1; Polain(B) 3469; Goff S307. The work was carefully planned, with manuscript Examplar volumes being made for both the Latin and the German text version £87,500 [108472]

All items are fully described and photographed at peterharrington.co.uk 61 The second Shakespeare folio, a handsome copy in Thorp, and at the end of the Comedies, Z6r, with the names Joanna White and Richard Carrington; engraved bookplate of Sir Christopher Willoughby, panelled calf Bart (1748–1808), perhaps the owner who commissioned the binding. Chris- topher Willoughby married Martha Evans in 1789, impaling her arms with 57 his, and was created a baronet in 1794. He carried out extensive improve- SHAKESPEARE, William. Comedies, Histories, and ments at his 17th-century manor house, Baldon House, south of Oxford, rebuilding it in 18th-century style. The house and grounds were considered Tragedies. London: Printed by Tho. Cotes, for Robert Allot, and sufficiently beautiful to be mentioned in 1830 by Thomas Moule in hisEnglish are to be sold at his shop, 1632 Counties Delineated. Folio (324 x 219 mm), 454 leaves, complete. Eighteenth-century English pan- second folio edition, Todd’s first issue, the edition of which elled calf, red morocco spine label lettered in gilt and with gilt leaf sprays, William Prynne complained that it was printed on best crown pa- circlets, etc., raised bands, pale red sprinkled edges. Housed in a dark red per. It is estimated that the original edition was of 1,000 copies, morocco backed folding case and chemise. Title incorporating large engraved portrait of Shakespeare by Martin Droeshout, woodcut head- and shared between the five publishers listed in the colophon, all of tailpieces and initials. Early pen-trials as noted below; a scatter of tiny ink whom were proprietors of rights to one or more of the plays. This blots to B2 recto; a small marginal ink cross on D1r. Extremities of binding copy is one of the copies printed for Robert Allot, who took the skilfully restored by James Brockman, front free endpaper extended in head lion’s share. The book is also notable for containing the first ap- margin. To the Reader leaf with very minor repair to short tear at lower outer pearance in print of John Milton, his lines printed on the Effigies corner; short closed tear at foot of title leaf not affecting text; K3 and K4 leaf. This copy is Todd’s first issue, with the Effigies leaf in Smith’s with short closed tears at foot; N2 torn across lower outer corner, affect- state C (initial “S” against a filigreed background). As Todd showed ing 19 lines in outer column, the whole corner neatly supplied from another genuine copy; short closed tear at head of d2 just touching headline; longer in 1953, copies of the first issue of the Second Folio were printed tear at foot of d6, affecting 26 lines but without loss, partly stitched and with and sold in the manner stated on the title page in 1632; later issues, old paper reinforcement on verso below the text; small marginal paper flaw although still dated 1632, have the title and conjugate Effigies leaf in h3; small hole in ee4 affecting a couple of letters either side of the leaf; on thicker paper and were sold by Allot’s successors sometime be- small tear across upper outer corner of ss3, outer corner of frame supplied in tween 1636 and 1641. facsimile; very minor paper restoration at head of ccc3–4; minor restoration Pforzheimer 906; STC 22274. William B. Todd, “The Issues and States of the in gutter of final leaf; some minor spots or small stains, but generally clean Second Folio and Milton’s Epitaph on Shakespeare”, Studies in Bibliography, vol. 5, and fresh, a very good copy, tall and well-margined, in a handsome early pp. 81–108. panelled calf binding. Early pen-trials on blank recto of the To the Reader leaf including the date £450,000 [117271] 1708; some early pen marks to the Effigies leaf recto, not affecting text, at foot of last leaf of text of The Tempest (B4r), including the name Thomas

62 Peter Harrington All items are fully described and photographed at peterharrington.co.uk 63 Davenant’s celebrated revival of Hamlet, with the first Shakespearian role in a career which, to quote Colley Cibber, ‘was female Ophelia, Mary Betterton to the last, the Admiration of all true Judges of Nature and Lovers of Shakespeare’. John Downes [prompter for the Duke of York’s com- 58 pany] reports in his Roscius Anglicanus that ‘No succeeding Tragedy for several Yeares got more Reputation, or Money to the Compa- SHAKESPEARE, William. The Tragedy of Hamlet Prince ny’” (ODNB). of Denmark. London: printed by Andr. Clark for J. Martyn and Although Davenant cut lines from the performance they are re- H. Herringman, 1676 tained here but marked with speech marks “so that we may no way Quarto (203 x 143 mm), pp. [4], 88. Collation: A2 B–M4. Recent brown roan wrong the incomparable Author” (Davenant’s “To the Reader”). to style, decorative gilt spine, red morocco label, gilt panelled sides, red This recension is also referred to as “Betterton’s edition” because it speckled edges, marbled endpapers. Small tear (repaired) to lower corner “purports to provide the text as Betterton acted it … typical of such of title touching one letter in imprint, pale discolouring from old wax stain ‘player’s editions,’ it includes a cast list in which Betterton’s name on pp. 43–46, a few other skilful small repairs in gutter of a few leaves. Con- is given for the title role” (Alan R. Young, Hamlet and the Visual Arts, temporary marginal annotations at p. 85 (adding “aside” against a couple of lines for the King and Laertes, clearly showing familiarity with the play). 1709–1900, 2002, p. 23). Thomas Betterton (bap. 1635–1710) is generally considered the greatest English actor between Burbage and first davenant edition and the sixth edition overall; there is Garrick but “because no record of day-to-day reception survives, another edition dated 1676, with the imprint in five lines, though in [he] remains an obstinately shadowy titan” (ODNB). fact printed c.1683–4 for Richard Bentley. Bartlett 84; Greg I 197(i); Wing S–2950. As manager of the Duke of York’s theatre, Sir William Davenant (1606–1668) was in a unique position with regard to the staging of £52,500 [110109] Shakespeare, as his father, John Davenant, had seen the play acted in Shakespeare’s day: “Sir William’s father, the devotee of Shake- speare, had probably left London just before the first performance of Hamlet at the Globe on Bankside; he would certainly have seen it at Oxford by 1603 (title-page, first quarto). Later on he no doubt told his young son about the production: thus William Davenant, the man mainly responsible for the return of Shakespeare’s plays to the London stage at the Restoration, would have had the unique advantage of hearing a firsthand account of how Richard Burbage played the prince. By 1661 Shakespeare had been dead for nearly half a century; his language would have seemed old-fashioned, his plots were unfamiliar, and tastes had changed. Davenant’s version of Hamlet (printed 1676) was severely cut—largely of course because of its length—and some of its diction altered in the supposed interest of clarity and intelligibility. However, the power of the play prevailed. Pepys, who was at the first performance, wrote that it was ‘done with Scenes very well. But above all, Batterton [sic] did the Prince’s part beyond imagination’. Mary Saunderson [later Mrs Betterton], then aged about twenty-five, played Ophelia, her first

64 Peter Harrington Macbeth, bound in a volume with other 17th-century Macdonald 87b]; RAVENSCROFT, Edward. King Edgar and Al- tragedies, from the Sandys library at Ombersley Court freda. A Tragi-Comedy. For M. Turner, 1677 [Wing R331], title page torn; MOUNTFORT, William. The Successful Straingers, a 59 Tragi-Comedy. For James Blackwell, 1690 [Wing M2977], spotting; BEHN, Aphra. The False Count … M. Flesher, for Jacob SHAKESPEARE, William. Macbeth, a tragedy [together Tonson, 1682. [Wing B1730], title page slightly torn, spotted; with 11 other plays of the period, in one volume]. London: SHADWELL, Thomas. Bury-Fair. A Comedy … For James Knap- for Hen. Herringman, 1687 ton, 1689 [Wing S2836; Macdonald 260], epilogue and adver- Quarto, 12 plays in one volume. Contemporary panelled calf, covers decorat- tisement leaf at the end, some leaves torn, some heavy foxing. ed in blind, spine in six compartments, horizontally ruled in gilt. Macbeth: Macbeth: Pforzheimer 914; Wing S2932. some slight browning to text; others see below. Front joint slightly cracked, some wear to extremities. Though without any marks other than a pencilled £15,000 [131682] shelf-mark on the front free endpaper, the volume is from the library at Ombersley Court, Worcestershire, which was built in the early 18th century for the first Lord Sandys. fourth quarto edition of Macbeth, adapted by William Dav- enant; Davenant’s version of Macbeth had first appeared in 1674 (printed twice in that year). As was common practice with play texts in the 17th century, Macbeth is here bound up with 11 other popular plays of that era, allowing it to be seen in its contemporary context. The other plays in the volume are: [PORDAGE, Samuel.] Herod and Mariamne. A Tragedy. For William Cademan, 1674 [Wing P2970]; LEE, Nathaniel. Mithridates King of Pontus, a tragedy … R[obert]. E[veringham]. for Rich. Bentley, and S. Magnes, 1685, epilogue at the end by Dryden [Wing L855; MacDonald 112b], headlines slightly cropped; BANKS, John. The Unhappy Favourite: or the Earl of Essex. A Tragedy. For Richard Bent- ley and Mary Magnes, 1685, epilogue by Dryden [Wing B664], headlines shaved; OTWAY, Thomas. The Orphan or, the Un- happy-Marriage: a Tragedy. For R. Bentley and S. Magnes, 1685, with the final advertisement leaf [Wing O553], title page slightly torn, some browning and spotting to text; BANKS, John. Ver- tue Betray’d: or, Anna Bullen. A Tragedy … For R. Bentley and M. Magnes, 1682 [Wing B667], some staining; OTWAY, Thom- as. Venice Preserv’d, or, A Plot Discover’d. A Tragedy … for Jos. Hindmarsh, 1682 [Wing 567; Pforzheimer 779], spotting, headlines shaved; DRYDEN, John. The Duke of Guise. A tragedy … R[obert]. E[veringham]. for R. Bentley, 1687 [Wing D2265;

All items are fully described and photographed at peterharrington.co.uk 65 The first edition in Ottoman Turkish of probably the most (“Othello and the Other: Turning Turk”, Times Literary Supplement, popular Shakespeare play with Turkish audiences 19 October 2001). Othello remains today “probably the most popular play with Turkish audiences. It has been adapted under various 60 names—including ‘The Revenge of the Negro’—and most famous Turkish actors have played it … Othello treats various themes that SHAKESPEARE, William. Othllo. (Othello.) Istanbul: Kirk have special resonance for Turkish audiences: the theme of the Anbar Matbaasi 1293 (1876) ‘other’, alienation, loneliness, the life of a soldier—even the prob- Octavo, four loose gatherings, uncut and untrimmed. Paginated 123–174. lem of Cyprus” (Gönül Bakay, “Turkey and Shakespeare”). Housed in a black cloth flat-back box by the Chelsea Bindery. Strip of tape to Kirk Anbar Matbaasi published a sequence of literary works by spine, extremities lightly chipped and torn but generally a remarkable sur- Bedreddin and Rifat from 1875, predominantly theatrical transla- vival in very good condition. tions from French, each with running pagination and making up a first edition in ottoman turkish, done by Hasan Bedreddin serial publication entitled Temasa (Theatre). WorldCat records only and Mehmet Rifat from the French translation of Jean-Francois four institutional holdings (not necessarily complete) for Tema- Ducis, and performed 1867–77 in Gedikpasa theatre in Istanbul, sa worldwide (Koç University Istanbul, SOAS London, and two in the first theatre in Turkey where plays were performed by Turkish Germany). This example constitutes a standalone offprint, cer- actors rather than travelling troupes. Shakespeare was becoming tainly never bound, being loose quires uncut and untrimmed, and popular at this time, after the Armenians had brought a production presumably intended for separate circulation prior to completion of Shakespeare to Turkey in 1862. Güllü Agop’s Turkish version of of the series. We have traced six copies thus in institutions world- Romeo and Juliet, which was performed to great acclaim though nev- wide (Istanbul, NYU Abu Dhabi, Columbia, Princeton, Wilming- er published, is thought to have been the first translation into Turk- ton, and the Library of Congress), each sharing the same running ish. Othello was next to be translated and would have been of special pagination. interest to the Ottomans for its Moorish hero. Jonathan Bate ob- serves the “consonance between the names of … ‘Othello’ and that £5,750 [131742] of the general enemy ‘Ottoman’. This would have been especially apparent if, as is likely, the original pronunciation … was Otello”

66 Peter Harrington The first appearance of Smith’s “Considerations the complexities of modern grammar in naturalistic terms] could Concerning the First Formation of Languages” be achieved by using a proper, Humean theory of the imagination. It completed his critique of Rousseau’s theory of sociability and was 61 reprinted in the third edition of the Theory of Moral Sentiments of 1763 [recte 1767] and in every subsequent edition published in his life- SMITH, Adam. “Considerations Concerning the time” (Phillipson, pp. 165–6). First Formation of Languages.” In: The Philological The Philological Miscellany was probably edited by William Rose of Miscellany. Vol. I. [London:] Printed for the Editor; and sold by Kew, editor of similar Historical, Moral, and Poetical miscellanies. In T. Beckett and P. A. Dehondt, 1761 a letter to Strahan in December 1760, Smith wrote: “Remember me Octavo (212 x 125 mm). Contemporary half calf and marbled boards, flat to Rose. Tell him I have not forgot what I promised him … [I] shall spine decorated gilt, red morocco label. Housed in a brown flat back cloth order some papers I left in England to be given to him. They are box. Ownership inscription (partly faded) of Elizabeth A. Kei[th] to front not what I would wish them, but I had rather lose a little reputation free endpaper. Joints, spine ends and corners skilfully restored, occasional with the public as let him suffer by my negligence” (Correspondence, faint spotting and the odd stain, pencil cross marks to a few margins; a very 54). The papers referred to are presumably these “Considerations”. good copy. Not listed in Tribe or Vanderblue. ESTC and WorldCat together locate 14 copies, rare first edition of The Philological Miscellany, this volume to which we can add one in a private American library. See Ross, Life of Adam Smith, all published, containing the first appearance in print of Smith’s pp. 187–8 and Phillipson, Adam Smith, An Enlightened Life, p. 165f. “Considerations concerning the first formation of Languages, and £25,000 [99764] the different genius of original and compounded Languages” (pp. 440–79). According to the editor of the Glasgow edition of Smith’s works, “it is a masterpiece of lucid exposition which any summa- ry can only blur” (Introduction to the Lectures on Rhetoric and Belles Lettres). “The theory of language he had presented to his Edinburgh and Glasgow students had been designed to show that language was es- sentially a vehicle for communication which had a history that was probably as old as civilization … His expanded account of the theory of language was designed to show how this [an explanation of

All items are fully described and photographed at peterharrington.co.uk 67 First edition of Spinoza’s great treatise and fourth posthumously in 1677. This copy is of the true first edi- on political theology tion, with “Künraht” spelled thus and page 104 misnumbered 304. Fritz Bamberger, “The Early Editions of Spinoza’s Tractatus Theologico-Politicus”, 62 Studies in Bibliography and Booklore, vol. 5, 1962, pp. 9–33, no. T1; Printing and the Mind of Man 153; Van der Linde, p.172. SPINOZA, Baruch. Tractatus theologico-politicus. £37,500 [130116] Hamburg: Henricus Künraht, 1670 Quarto (200 x 155 mm). Modern boards covered with a medieval manuscript antiphonal on vellum, black spine label, green endpapers. Housed in a black quarter morocco solander box by the Chelsea Bindery. Roman, italic and Hebrew type. Woodcut printer’s device on title. Without final blank. Title dust-soiled and repaired in gutter, a couple of stains to quire G and to fore edge thereafter, very good. first edition of Spinoza’s great treatise on political theology, a “crystal-clear exposition of the theory of natural right” (PMM). Spi- noza’s principal work, and the only work published in his lifetime, blends the traditions of his Hebraic background with Cartesian rationalism. His ethical views are extended into the realm of politics, and contain the first clear statement of the mutual independence of philosophy and religion. “Man is moved to the knowledge and love of God; the love of God involves the love of our fellow men. Man, in order to obtain security, surrenders part of his right of independent action to the State. But the State exists to give liberty, not to en- slave; justice, wisdom and toleration are essential to the sovereign power” (PMM). Four editions were published with the 1670 date and Künraht imprint when, in fact, the second appeared in 1672, and the third

68 Peter Harrington First edition, first issue, presentation copy, in the original first edition, first issue, presentation copy, inscribed yellow cloth by the author on the front free endpaper: “Henry Williams from his old friend Bram Stoker July 1897”. With the relevant issue 63 points: printed on thicker paper stock, without the advert for The Shoulder of Shasta which appears in later impressions on the verso STOKER, Bram. Dracula. Westminster: Archibald Constable of the final integral leaf [392]. The book was published in May 1897. and Company, 1897 Dalby 10a. Octavo. Original yellow cloth, blocked and lettered in red. Housed in a quarter black morocco clamshell case with red morocco spine label. Collector’s £135,000 [130449] bookplate of Jean Hersholt of Beverly Hills, California, on the front pastedown. Some light thumbing and soiling to cloth, but less than usually seen, spine somewhat darkened and faded as often, small stain at foot limited to first few leaves, otherwise clean and bright internally, an excellent copy.

All items are fully described and photographed at peterharrington.co.uk 69 The true first edition—“Gulliver’s Travels has given Swift houses (those of Edward Say, Henry Woodfall, James Bettenham, an immortality beyond temporary fame” (PMM) William Pearson, and, for the greatest share, that of Jane Ilive). The first edition appeared on 28 October 1726 in two octavo volumes 64 at the price of 8s. 6d., but with unauthorized deletions and inser- tions by Andrew Tooke (the brother of Benjamin Tooke jun.), and [SWIFT, Jonathan.] Travels Into Several Remote Nations sold out within a week. Gay wrote: ‘From the highest to the lowest of the World. In Four Parts. By Lemuel Gulliver. London: it is universally read, from the Cabinet-council to the Nursery’ … for Benj. Motte, 1726 Gulliver’s Travels is the book by which Swift is chiefly remembered, 2 volumes, octavo (191 x 119 mm). Contemporary speckled calf skilfully re- and it is the record of his own experience in politics under Queen backed and refurbished to style, richly gilt spines, dark red morocco labels, Anne as an Irishman in what G. B. Shaw called ‘John Bull’s other two-line gilt border on sides; housed in a custom-made plush-lined brown island’” (ODNB). cloth flat-back box. Frontispiece portrait of Gulliver (second state with in- Printing and the Mind of Man 185; Rothschild 2104; Teerink 289. scription in oval), 4 maps and 2 plans. Marginal dampstaining to a dozen leaves in volume I, and at lower fore-corner of first gathering in volume II, a £45,000 [102756] few old pale ink splashes to B5–8 in volume I. A very handsome set. the true first edition of Swift’s masterpiece, Teerink’s A edi- First edition of the first book tion, published on 28 October 1726 in two octavo volumes. Two superficially similar but distinct octavo editions followed in quick devoted entirely to plastic surgery succession: the second (eccentrically designated AA by Teerink) 65 sometime in the middle of November, and the third edition (Teer- ink B) in December. TAGLIACOZZI, Gaspare. De Curtorum Chirurgia per “The clandestine business of getting into print a pseudony- insitionem. Venice: Gaspare Bindoni the Younger, 1597 mous and satirically explosive political satire … (known from the Folio (322 x 220 mm). Nineteenth-century quarter vellum, red spine label, start by its more popular title, Gulliver’s Travels) was managed chiefly raised bands tooled in gilt, red paper-covered boards. Housed in a custom by Pope, with the assistance of John Gay and Erasmus Lewis. For dark burgundy morocco-backed marbled slipcase and red cloth chemise. speed, and to counter the risk of piracy, Motte used five printing Books I, II, and III separately paginated. Additional engraved title page (as called for), letterpress title page printed in black and red with woodcut

70 Peter Harrington vignette device, divisional title page for Book III, woodcut head- and tail- parts of the face by grafting, is masterfully described in the work pieces, initials; 24 woodcuts in text, including two on p. 57 of Book II and that made him famous. 22 full-page cuts in Book III with keys on facing pages. Pp. 51–2 of Book I In 1597 Gaspare Bindoni the Younger was granted the exclusive misnumbered 53–4. Corners bumped and worn, some rubbing, contents oc- right to print it by the Senate. However, another Venetian printer casionally soiled and foxed, toned throughout (a few leaves more browned, such as A3–4, Ff3–4 and Hh3–4, Ccc3–4), vignette title leaf cut close at bot- called Roberto Meietti took advantage of the lack of enforcement tom edge (not obscuring text), some small, faint patches of dampstain to of copyright laws in Venice at the time by openly publishing a pi- bottom inner margins and bottom right corners, a few paper flaws and tears racy in the same year at a lower price, using rather smaller paper (bottom right corner of Ff5 and Ddd2, top corner of Aaa6), small grouping and slightly less detailed copies of the 22 full-page woodcuts, which of worm-holes to bottom right corners of gathering Ddd; overall a very good, must have been particularly galling to Tagliacozzi, as he had gone well-margined copy. to great expense to have the illustrations prepared. The artist of the first edition of “the first book devoted entirely to plastic sur- woodcuts, which depict Tagliacozzi’s instruments and the individu- gery” (Norman), an ordinary paper copy, with the licence printed al steps of various reconstructive operations, remains anonymous. on the title page verso. Haskell and Norman note the existence “The volume is divided into two parts: the first, ‘Theory of the of another issue, printed on large and thick paper, without the li- art of plastic surgery,’ is about the structure, function, and physiol- cence, distinguishable by its watermarks, and suggest that these ogy of the nose; and the second part, ‘Practice of the art,’ describes were intended for presentation. and illustrates the instruments and operative procedures for resto- Gaspare Tagliacozzi (1545–1599) had studied under Girolamo ration of the nose, lip, and ear. Tagliacozzi also fully discussed the Cardano at Bologna, and later became professor of surgery and complications, such as hemorrhage and gangrene, that often oc- anatomy at that same institution. Though earlier Western writers curred during these operations. The numerous full-page woodcuts such as Celsus had discussed certain aspects of plastic operations, are well-executed and illustrate many of the techniques described Tagliacozzi “was the first to work toward establishing their scien- in the text” (Heirs of Hippocrates). The engraved title page, attributed tific validity by publishing surgical procedures that had for genera- to Oliviero Gatti, includes an homage to the “divine Hippocrates” tions been closed guarded secrets, and by improving these proce- and the “most wise Galen”. dures in the light of the best medical knowledge of his day” (Nor- Garrison–Morton 5734; Heirs of Hippocrates 236; Haskell/Norman 23; Norman 2048. man). His innovative technique, which consisted of reconstructing £25,000 [135968]

All items are fully described and photographed at peterharrington.co.uk 71 First edition, in the original Arabic, of this authoritative ancient poetry, such as the Mu’allaqat” (Encyclopaedia of Arabic Litera- commentary on the Mu’allaqat and three poems from the ture, vol. 2, p. 440). The editor, Charles James Lyall (1845–1920), was a senior ad- pre-Islamic period ministrator in the Indian civil service, and, “notwithstanding his 66 formidable official duties, also established himself as one of Brit- ain’s foremost scholars of Eastern languages. At Balliol he had TIBRIZI, Abu Zakariya’ Yahya [ibn ‘Ali] al-Khatib al-. A distinguished himself as a student of Hebrew, and from there he Commentary on Ten Arabic Poems. Namely, the Seven moved on to Arabic, Persian, and Hindustani … His chief devotion, Mu’allakat, and Poems by al-A’sha, an-Nabighah, and however, was to the early, pre-Islamic, literature of the Arabs, and ‘Abid ibn al-Abras. Calcutta: Printed for the Asiatic Society of on this subject he published a number of works” (ODNB). He compiled this work at the request of Cambridge Arabist William Wright Bengal at the Baptist Mission Press, 1894 (1830–1899), who needed a poetry textbook for his students. Quarto (315 x 250 mm). Contemporary red pebble-grain cloth, title gilt to This copy has been profusely annotated by a contemporary the spine, edges untrimmed. British historian J. F. S. Parker’s copy, with his hand writing in English and in highly accomplished Arabic, pro- ownership inscription dated St Anthony’s College, Oxford, 1960 to the front free endpaper, and his University of York, Department of History ink-stamp viding variant readings and additions from a manuscript “F.”, ap- to the title page verso. Mild wear to extremities, a few marks to boards, light parently as an advanced scholarly exercise: these annotations have browning throughout, a few minor splits and chips to the page edges, old themselves been marked up in pencil referring to various second- japanese tissue repair to bottom edge of 5 early leaves and final leaf, touch- ary sources such as the Lisan al-’Arab and Wright’s Grammar of the Ar- ing one line of text, still wholly legible, Arabic title and contents leaf mis- abic Language, and a pencilled note on the final page 164 reads “Col- bound between pp. 96–7. A good copy. lation finished 13/3/95”. An intended supplement of critical notes first edition, in the original Arabic, of this authoritative com- appears to have never been published. mentary on the Mu’allaqat and three further Arabic poems from the £1,250 [118904] pre-Islamic period; the poems themselves are printed in full, with the commentary between each line. Al-Tibrizi (1030–1109), a native of Tabriz in Iran, “was a philologist, a great authority on poetry … For a time he was a teacher in Egypt, then he moved to Baghdad where he taught at the Nizamiyya Academy until his death. Accord- ing to a report given by Yaqut, he was addicted to wine and often drunk when teaching; apparently this did not impair his scholarly reputation … He wrote several highly respected commentaries on

72 Peter Harrington First translation into English from the original Russian 67 TOLSTOY, Leo. War and Peace. From the Russian by Nathan Haskell Dole. Authorised translation. London: Walter Scott, [1889] 4 volumes, octavo. Original blue cloth, spines and front covers lettered and decorated in gilt. Publisher’s advertisement slip for vols. III and IV tipped-in at front of vol. II. Lightly rubbed and soiled, staining to front cover of vol. IV, minor wear at spine ends, a few hinges with slight superficial splits, some foxing to contents and edges, a few leaves opened crudely in vol. III. A very good set. first translation into english from the original russian, London issue. This translation was the work of American editor and translator Nathan Haskell Dole (1852–1935), issued in the same year in the US and Britain, with the British issue published in four volumes and omitting the translator’s preface (Walter Scott reissued the work in two volumes in 1897). Two versions of War and Peace in English had been issued prior to Dole’s version, both in 1886, but neither was translated directly from the Russian, using instead an intermediary French translation. Line, Ettlinger, & Gladstone 105. £1,875 [135420]

All items are fully described and photographed at peterharrington.co.uk 73 The founding text of modern anatomy, one of the most gripped anatomical research for the previous twelve centuries, remarkable illustrated books of the European Renaissance was instrumental in turning researchers away from his pages and sending them back to the prime source: the human body itself ” 68 (Richardson, p. ix). Over 200 pioneering anatomical illustrations were incorporated into the text: the highly technical woodcuts, VESALIUS, Andreas. De humani corporis fabrica. Basel: groundbreaking in their realism, were all carefully executed under Johannes Oporinus, June 1543 Vesalius’s supervision in Venice. In an unprecedented coalescence Folio (433 x 295 mm). Early 19th-century sprinkled half sheep, marbled of scientific exposition, art, and typography, the De Fabrica became boards, two green morocco labels to spine lettered gilt, smooth spine divid- “one of the most beautiful scientific books ever printed” (Grolier). ed into compartments by double gilt dotted lines and chain links. Housed in “Galen was not merely improved upon: he was superseded; and the a custom slipcase. Woodcut pictorial title page (laid down on thin paper), history of anatomy is divided into two periods, pre-Vesalian and full-page portrait of Vesalius, probably after Jan Stephan Calkar, 7 large, 186 mid-sized, and 22 small woodcut initials, more than 200 woodcut illustra- post-Vesalian” (PMM). tions, including 3 full-page skeletons, 14 full-page muscle-men, 5 large dia- Cf. Adams V–603; Choulant-Frank pp. 178–80; Cushing VI.A.–1; Dibner, Heralds grams of veins and nerves, 10 mid-sized views of the abdomen, 2 views of the of Science 122; Garrison–Morton 375; Grolier Medicine 18A; Heirs of Hippocrates 281; thorax, 13 of the skull and brain, and numerous smaller views of bones, or- NLM/Durling 4577; Norman 2137; Printing and the Mind of Man 71; William Frank gans and anatomical parts, and 2 double-page folds, one of veins and one of Richardson (trans.), On the Fabric of the Human Body, 1998; Stillwell Science 710; nerves. Faint ownership signature of “Ippolito Guarisci” to title page. A little Wellcome 6560. worming to boards and joints, mainly superficial, joints a little tender, tips £250,000 [126301] slightly worn, title page with small holes to edges, sometime repaired with concomitant browning, a few small marginal tears with old neat repairs, folding plates with small reinforcement to verso, old ink stains at outer edge of pp. 335–80, p. 356 mounted on stub, occasional finger-mark, some foxing and marginal dampstaining throughout, more evident at final few leaves, withal presenting well. first edition of Vesalius’s magnum opus, the founding text of modern anatomy, which revolutionized the science and teaching of medicine and practice of surgery. “This is the work that, by breaking the stranglehold in which the writings of Galen had

74 Peter Harrington An exceptional copy of the radically altered second and annotated several copies before sending them off to friends edition, extensively annotated by the author and libraries; the extent of the annotations varies from around 200 mostly typographical corrections to just a few. 69 Vico dedicated much of his remaining life to amending and ex- panding his truncated text. As with the first, Vico again sent out a VICO, Giambattista. Cinque libri de’ principj d’una few annotated copies of the second edition. Whereas those record- scienza nuova d’intorno alla comune natura delle ed or traceable on the market contain only few and minor emenda- nazioni. Naples: Felice Mosca, 1730 tions, this copy is exceptional both in regard to the number and Duodecimo (148 x 80 mm). Contemporary vellum, spine lettered gilt on a the extent of many of his annotations. This copy includes the rare brown background. Housed in a black cloth flat-back box by the Chelsea appendix of the congratulatory letter sent to the author by Franc- Bindery. Engraved frontispiece, large folding table, woodcut initials and esco Spinelli, prince of Scalea (1681–1752), often absent because it tailpieces. Fore edge of front board and bottom edge of rear board a little was added to those copies still unsold in January 1731 (Bibliografia worn, a single worm hole (1 mm) throughout, touching the text but sense Vichiana I, pp. 49–50). fully recoverable, small marginal worm track to the upper margin of the final 10 leaves; folding table supplied; occasional light spotting and browning, as Vico’s Scienza nuova (New Science) has been “justly called ‘the vehi- usual; a very good copy. cle by which the concept of historical development at last entered the thought of western Europe’ … The concept of a history of ideas, A remarkable copy of the radically altered second edition of Vico’s the principles of a universal history and its philosophical criticism, masterpiece, annotated by the author on more than 100 pages, a recognition of the importance of social classes, all begin with many of the corrections and addenda being later included in the Vico” (PMM). final, posthumous third edition of 1744. Vico’s work had originally been conceived as a monumental work in two quarto volumes, to Benedetto Croce & Fausto Nicolini, Bibliografia Vichiana I, p. 45 ff;Printing and the Mind of Man 184 (first edition of 1725). be printed in Florence at Cardinal Lorenzo Corsini’s expense. But when Vico presented the manuscript, the cardinal baulked at the £18,500 [123497] cost of printing such a large book. Left with the prospect of pay- ing for it himself, Vico trimmed his text to a quarter of its original length. The first edition was of 1,000 copies, with 12 copies on large paper, published in 1725. Nicolini states that Vico signed, inscribed,

All items are fully described and photographed at peterharrington.co.uk 75 One of 100 large paper copies of copies on vellum, most of which the author presented to his few Wilde’s last and greatest play loyal friends. Mason 382. 70 £50,000 [132907] WILDE, Oscar. The Importance of Being Earnest. London: Leonard Smithers and Co, 1899 Square octavo. Original pale purple cloth, gilt lettered spine, gilt floral motifs from designs by Charles Shannon on spine and covers, edges untrimmed, pages uncut. Housed in a custom brown quarter morocco and cloth solander box and matching chemise. Housed in a purple quarter morocco solander box by the Chelsea Bindery. Cloth very slightly faded at spine and upper and inner edge of front board, a couple of small areas of cockling to front board, free endpapers browned as usual from reaction to pastedowns, still a near-fine copy, fresh and clean internally, with one unopened top edge. first edition, signed limited issue, number 46 of 100 large paper copies signed by the author. Wilde’s last and greatest play opened to huge acclaim on Valentine’s Day 1895 but was withdrawn after Wilde’s failed libel suit against Lord Queensbury led to his arrest. The subsequent “utter social destruction of Wilde” (ODNB) meant that the play was not published in book form until February 1899, after Wilde’s release from prison. The play was issued in a standard edition of 1,000 copies, this large paper edition, and 12

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78 Peter Harrington